Davinci Resolve: The Complete Video Editing Course

1. Davinci Resolve: The Complete Video Editing Course - Trailer: Welcome to the DaVinci Resolve course. We're so happy to have you here, and we've structured this course for complete beginners. We start by teaching you how to navigate the DaVinci application. Then we jump into basic video editing, followed by adding video and audio transitions, graphics and titles, color grading and corrections, and finally exporting your high quality video for sharing with the world. We've included sample video files that you can download to practice with while you take the course. If you ever get stuck, just post a question to the course will respond as fast as we can to help you out. And now I think you're ready to get right into it. But the next lesson. 2. Davinci Resolve Installation & Shortcuts: in this lesson, I will show you how to download a free copy off DaVinci Resolve. So here I am, a cool dot com. I typed the words DaVinci resolve, press enter. And this is the result you see at the top. So you click that, and it brings you to this home pit where a short video will play at the top. So let it finish, and after that you will see a small download button appear. So this is the download button, and I click that now. Here there are two options available. One is the free version, which is. The venture is all 15 and the other is paid version, which sells for around $300. And that is Dave Injuries, all 15 studio. With the free version, you can do almost 99% off video editing color correction, and Grady and I have also used the free version. For this course, you will need the paid version only if you need very advanced features like multi user collaboration, three D tools, etcetera but discourses, nor going to cover any of thes features available only in depend version. Depending on your operating system, you can click on one off these buttons. It will start downloading, and you can install it. If you face any problems during insulation, please post in the Q and A section and I'll try to help you out. Thanks for watching, and I can't wait to teach you more about DaVinci resolve. So stay tuned before anything else. I want to quickly let you know that I have compiled a list off frequently used and most useful keyboard Shorter's we will be using through our discourse. The file is attacked with this lecture. As a PdF, you can download and maybe printed so that you can refer to it during the course. Here is the pdf, and for each of these commands I have used the symbol off the relevant tools. If applicable, then we have a column of shortcuts for Windows and another column for Mac operating system . And for your convenience, I have divided these keyboard shortcuts into six groups based on what they do. The first table contains shortcut for playing the videos in forward and reverse direction. Then we have tables containing shortcuts for editing, coloring viewing like zooming in and zooming out and maybe adjusting the size off the viewer. And this last table has some general short girls like saving the projects. Cut, copy, paste, etcetera. For advanced users, DaVinci Resolve has literally hundreds and hundreds off shortcuts to the point that it can be quite overwhelming. So for your convenience, I hand pit these 50 or so shortcuts. This will be a great resource for reference and will also help you remember the symbol for different tools. I hope you will find them useful. Thanks for watching. And I can't wait to teach you more about the Vinci results. 3. The basic Workflow: Welcome to the second section off the course. Now we will look at the workflow and interface in DaVinci Resolve 15. So here are the six steps in the work floor, and each step is carried out in a different workspace in DaVinci results. Here you see at the bottom there are six buttons that can be used to navigate between different work spaces. In Step one, we import the media we want to edit. In Steptoe, we do the editing. As the name suggests. Step three is called Fusion, in which we can apply visual effects if we need to Step four includes color, correction and grading. Step five is for audio effects and is called fair light, and in the end, Step six is for exporting the final radio. Later, in this section, we discussed these workspaces in detail. I have also attached a Pdf file with this lesson containing the layout off these workspaces and the names off different areas on them. You can print it for reference. The first step off importing the media and the last step off exporting or delivering the final output are compulsory, but for the remaining for, you can skip the steps you don't need coming up next, I will give you an initial quick tour off Very basic editing in DaVinci result to give you a feel off the workflow. And then we will start exploring each workspace in detail. Thank you for watching this video. In this lesson, I will show you how to do very basic editing by combining a few clips together in DaVinci Resort. And remember, this is just an initial quick tour toe familiarize you with the big picture off work floor in DaVinci result, and we will cover each of these steps in detail in the coming sections, so I'll try to keep it as simple as I can. But even if some steps seems confusing to you, don't worry, because it will be clarified soon. So is the first step. I will never get to the media workspace and imports a media into the Vinci Resort. And here. Media means clips, our audio or pictures that we want to use for our project. So I'll open the media storage and never get through media, do the fights and want to use. So here are some of the fights that I want to use right now, you see that there are no clips in the media pool, So what I can do is I can select some off these clips from my computer and dragged them and drop them into the media pool, and it notices some off. The media has different frame rate and resolution than in my project settings, and it asked, Hey, do you want to change frame rate and form it off your timeline to match? So I'll say yes, change. So these four clips have been added to the media pool. And now, if I go to the edit workspace, these four same clips will also show up here and to see what is inside these clips. I click on any of thes and you see this vertical line so I can scrub through this Tom nail by moving this line to the left or right, and this window shows the preview off work lies in each off those clips. Similarly, I can double click it, and now I can preview it. So this window is used to preview these clips so accordingly this area is called the preview monitor or preview window, and this window shows what lies in our timeline. So right now that timeline is empty, so there is nothing in the timeline to show in this window. As soon as I select these clips and drag and drop them to the timeline, you see that some new tracks have been created toe accommodate door's clips, and immediately you also see right now it's kind of dark. But now you also see that this window starts showing the preview. Move this marker in the timeline and you can see the changing preview off different areas off the timeline. And as I move this to the end off the timeline, you see these pointed that is, which shows that there's no content after this point. So now this timeline is kind of expanded so I can zoom in and out to sea. More off the timeline Green Area shows the audio track, and this blue area shows the video track. Its name is we won. In these clips, there is not much audio. There could be, you know, some sounds off camera clicking, but apart from that, there's not much Ardian these clips. So what I want to do is maybe hard some background music toe these clips. I can go back to the media tab or media workspace and look for some music background music added to the media pools. And now when they come to this at it workspace This music also shows up here so I can drag it and drop it to the timeline. And you see, a new audio track will be created and again zoom out off the timeline to see more off it. And you can see that there is a lot off area in this timeline where there is only audio but no video. So maybe we want to trim this part off the audio where there is no video. So to do that, I can click on this order track, and you see, the boundaries are kind of highlighted. I want to trim this parts. What I can do is bring my cursor toe the edge off this audio track, and once the shape off the cursor changes, I can just drag it and bring it so that it coincides with the end off the last clip. And right now you see this part has bean trimmed its as simple iStar and no, let me decrease the volume so I can play from the start. And this is everything that lies in the timeline. This is that being played on this is the background music. So now that all the media has, Bean added, I can just click on this media pool to hide that. And now we have more real estate to work with these clips. So this is the most basic form off editing in DaVinci resolve, which basically involves looking for the media from your computer herring that to the media pool, previewing it, bringing it to the area tab. And ah, right now we haven't done any editing apart from creaming this audio track, but I just want to keep it simple for this lesson. So we previewed some clips, dropped them into the timeline, edited this audio track, and right now we barely did any everything to keep this lesson simple, but their lot off ways in which we could add it them and manipulate them as we will explore in depth in the coming lessons this fusion workspace. This is for adding a different kind of visual effects in any missions to that, and we can also adjust the colors off these clips and also the audio. But I'll save that for later. For now, we can create a new video from everything we have in this timeline. And to do that, I'll go to the deliver tab. And here you can see that all these four clips have Bean added to the timeline. And here we concert the options for the final video. We can just create a custom video. We can create it for YouTube or women. You just click on the custom and here don't below. We have different options in terms off resolutions and format and Kodak, so I'll just give it a dress for desktop to save it on. We want a single plate creator from all these videos. I'll prestes single flick option, then export video in quick time format. Kodak. These are the default values. I'm not going to change any of these For the final resolution off the output video, let me use 1920 by 10 80 HD and frame red again going to use the default value. Now we can add it to the render queue, and when I pressed that now you see here a job is created and when a press start, Render not starts to render our final video, which might take a couple seconds or a couple minutes, depending on the length off, the content and the speed off your computer. So I'll just speed of this portion. All right, so the video has been successfully rendered, and here is the complete video. - So that's how we can combine multiple clips into single video and add some background music to that in DaVinci resolve. I hope that wasn't confusing. Of course. I skipped many steps and details to keep it simple. From the next lesson, we will start diving deeper into each workspace and the tools it contains. So CEO in the next lesson, Hi and welcome to another lesson. And now that we have successfully installed DaVinci resolve since I am using the Mac operating system, I will go to my spotlight and start typing the words DaVinci resolve. And it shows up in one off the results. So I just, uh, either double click it. Our press enter and it will start loading. So you will see this screen. It will take a while to load up. So once it successfully lords up, you will see this screen And this is actually the project screen where you will see all your projects if you have already been working on during she. But if you're new to this software, then you will only see this time nail saying untitled project. So these are the other projects I've been working on. And so this is a thumbnail for a Project Project Project project. But this is not a project. This is actually a folder, and you can use folders to organize your similar projects. So if you look at these three buttons here, you can select one of thes projects and press this button to open it or just double click on one of these projects. With that, you can create a new project. And, ah, if you want to organize them using a folder, you can create a new folder. So I will go here and ah, let me create a new folder. Let's say all projects create and new folder will be created. So now I can ah select similar projects, just dragged them and drop them into this new folder. So this is how I can cook them together. So if I go to this folder. I have these projects now, but since I don't want to organize these projects in this way, so I'll just select all of them, right? Click and cut and I can go back to the home folder and ah, right click and paste him here. And I can also delete this folder by right clicking and pressing delete. So in this way you can create folders and organized multiple projects into foreigners. Now, if you look at these buttons here at the top, it chose the version. And, ah, this slider can increase or decrease the size off the thumbnails. With this, you can sort them in different ways, either alphabetically or to the datemodified or timeline owner and former or the type off these files here. And currently we're seeing the default view, which is the Tom Nails view. But we can also can. We can also change it, toe the details view where you can see the details off each of the projects, including their resolution frame rate and using this button. We can also type a keyboard to search for a particular term among the list off projects. So if I type the word in order northern here. One off the result shows the project containing this keyword. So in this way you can search for projects containing a particular keyword. So I'll change it back to the terminals view. And this was a quick tour off the projects clean. So now we can create a new project by double clicking. This are just pressing this new project button and typing the name off the new project. So I will name it. Project one, Project one create. And this is the main user interface off Dementia resort. So I know for the beginners, it could be a little intimidating. But trust me that by the end of this course you will be very comfortable with this user interface and all its sections. So from the next lesson, we will start exploring this Divinci resort environment and all its capabilities. So I will see you in the next lesson. Hi. And welcome back to the course. This is how the interface off DaVinci resolve looks like. So whenever you open them inches all for the first time, what you need to do is go to the top menu here in workspace and press this option research . You I lay out you, I means user interface. So this research your user interface And once you do that, your interface should look exactly like mine. And that's the Defour look for user interface. Now we can go to this gear icon in the bottom right corner to customize the project settings, and these settings will be used to export your final video. So you see here there are lots of different options for master settings image skating, etcetera and under the master settings to off. The most important settings are the timeline, resolution and timeline frame rip. So under this timeline resolution said this to whatever you want to export your final video to so you can select either ah too already by 7 28 e r 1920 by 10 80 s t or even four k or any off these options. But I'll go with this 1920 by 10 80 HD and pixel expectation. Of course, I'll keep it to scare and then timeline frame rate. You can set it to, uh, you know any of these values 16. 18 23.976 25 30 even upto 60. So choose this value based on whatever your camera shoots in or what you want to export your final video to. And I'm selecting these settings because once you start editing clips, you can change the timeline resolution, but you cannot change the frame rate, so I'll pick 25 safe No. One important thing while you're working on such video editing projects is that remember, toe, save your work frequently. And the shark er the keyboard shortcut to save your project is control plus s for Windows or Command Plus s for Mac opening system save current project. I'll Nimet Ah, Project one save. So now that project settings have been customized, we can start getting to know the interface off the bench resort in the next lesson. Hi. And welcome to another lesson. Now, at the top off the DaVinci Resolve interface, you will see these things on the left side and on the right side. Let's call them panels. Using these, you can open different things and throughout using DaVinci resolve, you will see these panels at the top that you can turn on or off to adjust the layout and maybe get some more real estate When you need to. So pay close attention to these panels because if you cannot find something that you're looking for, chances are that maybe you don't have one of these panels enabled at that time. Also at the bottom. Here, you see these six different types, or workspaces, and each of these workspaces is designed to do specific things. The 1st 1 is the media workspace, and this is what it looks like. So this is used to navigate around, import and manage the media files for your project. Next one is the edit workspace. This is our it looks like, and it is used to modify and edit the appearance off your media files. Third is the fusion workspace, and this is newly introduced in the DaVinci is all words in 15 and this is designed for visual effects and animations. Next one is the color workspace. You take edited clips and perform your color correction and color grading on those clips. So when it comes to color grading and color correction, the wind shear is always really powerful software. As we'll see next, we have the fair light workspace, and this is used to apply argue adjustments and already effects to your media. Lastly, we have the deliver workspace and this is used render and export your final radio. In this course, we will cover the media at it color and deliver tab in detail. But we won't go much in detail about the fusion and fair light workspaces. So basically, the work floor in the DaVinci resolve it flows from this work space on the left, all the waste advice to the right. Most so, basically, we are the media. We add it, you know, apply all the adults and carts and transitions and everything on that. Then we apply Any animations are special visual effects on that if needed. Then we apply the color correction and color grading if needed. Then ah, we have fear. Light works with where we can apply special order effects on that. Lastly, once everything has been applied on those clips, we can go to the last workspace to produce our final radio. So in the next video, we will just skim through very basic adding in the wind. She result, and I'll give you a bigger picture off the overall work, throw by editing a few clips together. And once we know the bigger picture, then we will dive deeper into further details off different work spaces and tools available in them in the later sections. That was all about the interface off DaVinci result, and I'll see you in the next lesson. Hi and welcome to another lesson and let's get to it now will start exploring different work spaces and their tools in detail. So here I am, in the first workspace called the Media Storage Workspace. So let's look at the panels at the top. This panel is for the media storage, and this is actual media storage under this panel, and this area contains the footage. I can browse through computers, look for different folders and directories, and from here, look at the individual footage files. I can make this area bigger or smaller by dragging thes edges around are I can hide this panel completely. So you see these top panels are these air like toggle Parton's. I can press them wants to show what lies in those panels, and I compress them again to hide them completely. Next panel is the clone tool pen, and here right now, it says, no jobs in Q. This panel ensures that your media is properly backed up before you apply any addict street so you can make a clone or duplicate off your media before doing any editing work on that. But for this course, I'll assume that we have our media properly backed up, so no need to do it in DaVinci. So I hired this panel by pressing it. This space is theatrical media pool. The media would be important to davinci resolve. It shows here. So right now, it says no clips in the media pool because all we're seeing right now is the footage on the computer. But we haven't imported anything yet. So this is the space where we bring any media to process it any further, and we have to first add it to the media pool, as we saw in the previous lesson. So now let me select this folder, and here you can see whatever clips this folder has, and I can click on any of thes double click on dark to see the preview off that And here you see, in this area, I can see how these footage filed shop. So right now, this is the grid view and ah, this basically here it shares the name off the folder, which is currently selected. So whatever the these contents are, I can make them smaller or bigger by sliding this bar and you can see that these Tom nails are getting bigger or smaller. And when I bring my cursor to one of thes tom nails, I can see the preview off these here in this preview window. So by moving my cursor around in the horn on top off this Tom nail, I can see the preview off different areas in this different parts in this company. In addition to making them bigger or smaller, I can also change it to, from great view, a contingent to the list view. And now you can see that by moving this ah scroll scroll bar, I can see further details for East Clip in terms off its name in terms off it. It's frames its resolution bit depth frames per second and dates modified their creator than swan. By selecting this option, I can even search for individual clips. So if I press this I concert for individual files using a particular name or digit or phrase no once a clip is selected for preview. These are the control panel for the preview button. So this is the audio Aiken. Turn the audio owner off here by pressing this and dragging my cursor around. I can scrub through the footage without actually previewing it, and these are the buttons to play it toe, play in the forward direction, play in the reverse direction, stop it on Goto the end, go to the start, and this is to plate in a looping fashion. And these two buttons are for Mark in and mark out basically. So if I want a particular portion off this video to be added to the media pool, I can use these buttons, but we will look at them pretty soon Now. In addition, toe looking at the video preview, I can also enable this audio panel to see different argue levels for different parts off this for it. So you can see that as I drag this marker here, you can see the argue levels for different parts off the footage. Further details about the selected clip can be shown in this matter that a panel. So if I enable this here, this is the matter era panel. And if I select one off these panels at one of thes clips now, it shows further details about that clip. So let me turn off the audio panel toe, make it bigger. And here you see that whatever clip, I select the matter. ETA changes the details according to which clip is selected, the details off particular Clippers shows include the duration, the frames for second, the resolution, the frequency bit depth frames, daughter level and so on. So for now, I'll just disabled that and the last panel here is for capture. So if I enable that here it says nor device detected. So this basically is used to capture with you through DaVinci resolve directly to your hardest. So you need to have some capturing device attached to that to use this panel. But we're not going to do that in this video, so you can see that we have ah couple panels on the top left and we have some more panels on the top, right, and I can toggle them on or off using their individual buttons and ah, in this way we can turn them honor off independently. There are lots office to configure them to get more real estate on the interface. So disabled this capture and audio panel because we're not going to see any further details apart the matter that our audio. So now let's ah, change it to the grid view. And let's select a couple off these clips and drag them and drop them to the media pool. And once I select and Dragon dropped them to the media pool, it asked that the frame rate off the selected clip is different from that in the project setting. So should I. Mast that and I'll click change. So that's a good thing about the venture is all that it can automatically change the project settings based on the settings for the individual clip your dragging into the media pool. So here you see that I selected for off these cliffs and drag and drop them into the media pool. And now if I go to the next workspace with the added workspace, he will see that those four clips will show up automatically in this area. And if we don't do this step off selecting and dropping into the media pool in this media workspace, then we won't be ableto drag and drop them into the timeline in this ah, edit workspace. So this step that we did here by dragging them and dropping into the media pool, this is a very important step. Now you can see that I just added four clips to the media pool right now. But for bigger clips, you might have large soft clips to be added to the media pool, which might get a bit overwhelming at times. So there is a tool in the ventures or to organize your clips. And that will discard Vince. So we will look at the being stool in the next lesson. Hi and welcome. In this lesson, we will learn about bins. So as I mentioned in the previous lesson, if you're working on some big project, it might involve lords off clips so Ben's can be used to organize your media and reduce clatter so you can create bins by going toe. This area, which is smart, bends and this other window. If you right click in this area here, you can press this button and add have been And let's name it Ah, Joshua cree been beans are like folders and you can drag and drop files into them. So right now, here we have these four clips. So what I can do is I can just drag them and drop them into this men. So you can see this folder has been created in this area after the name which we set for this been. So this is basically a folder for that particular, but so I can drag this media and drop into this bit. So now whenever I select this been, you will see that these four clips are contained in that bin. But bins will not move any off your files from your computer. So for now, I'll just go ahead and remove this Been It will ask me further to clarify. And once I do that now, there are no more clips. So let me go ahead and drop these four clips again into the media pool. Another cool way to organize your media is through smart Ben's, which will automatically find clips that fulfill a certain criteria. So what I do is I first create a smart bent by right clicking in this area and pressing this art of smart been button. And here I will give ah name for this smart man, so I'll call it. Ah, Joshua Crease Mark been. And here I also need to set a specific criteria so that it may look for clips based on that criteria. So first of all, here it says, Matt, all or any off the following rules. So I can set different rules here, and I can also given option to select clips which match all these rules are any of those? So let me say any of these rules and, ah, inside media pool properties. What I do is instead of file, name I her other select and you can see here there are lots of different ways in terms off their names, their duration in and out start frame and frame and so on. What I'll do is I will go for the criteria that says Resolution. Let's say so. Here's the resolution. And, uh, I can further select rather clips off a certain resolution or select lips, which are not off a specific resolution. So let's say I select is and here I will say 12 80 by 7 20 So I'm selecting criteria toe pick all those clips automatically which have this resolution. So I create smart Ben. And here you see, the smart man has been created. But when I selected there is no content in this been because possibly couldn't find any clip which fulfilled that resolution Crater. So let me go ahead and right click again on this, Ben, and let me change the criteria. So edit smart men and here instead of 12. 80 by 7 20 Let me change the resolution. 1920 by 10. 80. So now it will automatically select clips which fulfilled this resolution condition When I press. Okay, you see out off these four clips which were initially present here. It has selected three off those clips. So you see, originally there were four clips here. But when I select this Joshua tree smart, been it selected only three off doors. Who I Because these three clips, if I goto the matter data and look at their details, where is the resolution for this clip? Exactly what I selected for the criteria here. So it's 1920 fraternity. This is also 1920 by 10. 80. This is also 1920 by eternity. All these three clips have been selected what was the 4th 1 which was not selected? It is this dark one. And what is the resolution for that? If I select that on one side, it is same 1920. But here it is not 10. 88 is actually 94. So that basically was the reason that this wasn't automatically drop in this smart men. So definitely the criteria that I selected while creating the smart men it was basically taken care off. I'll selecting these different clips and dropping them into this smart. So these air different ways in which I can organize media inside the venture is all I can create Benz and drop media into those. I can also create smart bends and set a specific criteria. So now automatically, only door's clips would be selected and dropped into the smart man which fulfill that criteria. So that was all about beans. And also we looked at the overall interface off the media workspace in this section. In the next section, we will start exploring the next workspace, which is the edit workspace. So I'll see you in the next lesson. 4. The Multiple Ways to Create Timelines: hi and welcome to another section. And in this section we will explore the second workspace, which is the edit workspace. So this is how the interface off the edit workspace looks like by default. And if it doesn't, what you can do is go to the workspace, press this button research you I failed. And now hopefully this should exactly look like that. And this area is the timeline where we apply all the editing. And if I go to the previous workspace here, remember in the previous step what we did Waas. We added some clips to the media pool and we also made a been do it. We added some off those clips. So now these three clips are added and if I go to the edit workspace, the same clips will show up in this area. And if I go and select those four clips originally selected now, it will change to the four clips selected in the previous workspace. So whatever I select in the first workspace, it shows up here. The timeline is empty right now because I haven't added anything to the timeline yet. Now, let me discuss the overall interface off this workspace. These two windows are far previewing the clips, and these are for different purposes as well. Explore. Soon here, this area shows the clips. And this this is for basically this whole thing represents the media pool so I can turn it on or off. And if I turn it off, I get more real estate for the timeline and for these preview windows. But right now, I just enabled them. And here again, just like in the previous work space on the top, we have some panels on the left side and on the right side. So let's quickly go through these panels. This is the media pool, Aiken. Toggle it. Honor off. And this contracts this media pool so that we can see more area for the time. And so this timeline kinds off experience. When we press this, I'm not going to expand that this one. It basically hides the navigation and these bins so that we can get more area for these clips. So right now, I can only see this area for the clips, but if I press it again now, I can see these bins. Then we have something called effects library. Where we have lots off effects and as we proceed, will be applying some of these effects on our clips. So I don't need that right now. Then similarly, we have added index, then we have sound library on the right. We have mixer for applying audio facts. We have the same old Madeira panel that we explored in the previous section, which basically shows further details for the clips selected. And then there is something called Inspector. So all of the's are different panels for different purposes, and as we proceed, we will be exploring each of them. So depending on what I am doing at the moment and how much area I need for the timeline and for these previews, I can turn these panels on our off, similarly right in our timeline seems quite big, and preview looks quite small. So what I can do is I can drag this edge to get more area for the previews and less area for the time. And so, as need be, I will be playing around with these different areas. And right now I just enabled the media pools. Right Now you see, the timeline is empty and we have four clips into Syria. But when I select and drag one off thes and bring it to the timeline area here, you see, these tracks are automatically created, and this Tom Nail is also created in this area. So now I place it here, these tracks are created, and this time nail is also created. So this time they'll basically represents this timeline where we put videos and do parroting. So this term nail is not a video. It's just representing this timeline. I can double click its name right now. It was named by default, but I can double click it and change its name to I'm lying. Ah, for Project one. So in this case, timeline was created automatically for us. But time lands can also be created in a few different ways. So to show that let me undo this by pressing control Z on Windows and Command Z on Mac. And when I press that this clip is gone from the timeline, these tracks and this time Nate, all off it is vanished. So now let's explore a few different ways in which we can create this timeline. So one off the methods is to select some of these clips, right? Click on those. And there is an option that says create new timeline using selected clips. And when I pick this option in this window, I can give it a starting time court with by default is 1.0 and timeline Name. Uh, let me rename it my timeline. I can select how many video drags or audio tracks I want by default. Both of these are one each and audio track type. I can even select Muno or studio or different types off audio tracks. And here by d for this option is selected, which is you selected mark in our outpoint. So these options are used when I don't want the whole clip. I want apart off that so I can mark in and mark out Ah, part off this clip and selected. So right now I'm not using that. But this is how it comes by default. So when I click create again you see, the timeline is created, these tracks are created and here you can see a new Tom Nail is also created with the name I gave it. These different clips are placed on their timeline. The default sequence, which I can further change now to demonstrate the other method again Aval, Preska, Marcie or control Z on windows to undo that and again these tracks. And this time nail is gone. So this time I can select multiple flips and again drag and drop them to the timeline. And now you can see that this new timeline is created for us. I can, ah, you know, change their position. I can shuffle them around. And in this way a new timeline is created with one or do in one video track. So this is kind of similar to the first mattered which we saw. But I wanted to show you that you can also track and drop multiple clips into the timeline . And after that I can zoom out. Now, what I can do is I can select one off these clips and maybe, you know, bring it to the empty space so that I can shuffle them in a different order if I want. I'm just selecting them and you can see that this is the audio part off the clip. This is a video part. And when I select any of these by default. Both of them are selected automatically together. In this way, I can just select them and bring them close to each other so that they are in the new order new sequence that I want. And, uh, this is another way to add multiple flips to the timeline and are just they're sequence. Now, there is one more methods to create timeline, and for that again, I will undo this step by pressing command Z on Mac or controls. Yuan renders multiple times because I had some reshuffling going on here. So now I'm back to square one, and here we have some clips again, we have an empty timeline. No, the last way to create timeline is using Ben's. So for that I will go to the previous work space, which is the media workspace. And here the been I'm going to create is let me rename it Bean to OK, that's fine. And now what I'll do is I'll select three off these cliffs and drop them into this. Been so right now, one off these clips is outside. This been. And when I select this been this been contains three clips. So what? I can do is I can right click on this been And here it gives me an option to create new timeline using, selected been. And when I pick this option, it asked me further for the starting time court the name off the timeline, the number off tracks I want for our your video. So one track for RD one track for videos Fine. And here I can further change the type off the audio track. So let me rename it been timeline. And when I press create here, you see that this new thumbnail for time land has been created with the same name I give it . And if I go to the next tab, which is the edit workspace here, you see that the same selected clips have been added to the timeline. So these are a few different ways in which we can create these timelines either by dragging and dropping clips into the timeline directly are by right clicking on a Ben and picking this option off, create new time and using selected been in the next lesson, we will explore the different ways in which media can be added to the timeline. So thanks for watching and I'll see you in the next lesson. Hello and welcome to another lesson. Now, how do you many plate media inside timeline to see that? Let's add videos to the timeline, and there are around 7 to 8 different ways to do that. Some of these ways are simple, and some of them are a bit advanced and sophisticated In this lesson. Let's look at the simple ways first toe add media to the timeline, and let's save the advanced ways for the next lesson. So let's look at the first mattered. And this is the simplest and most obviously, which is by dragging the whole clip. First, I can preview it in the preview window to make sure it's the right clip, and then we can simply drag and drop it to the timeline. So this timeline I can zoom in or zoom out in this timeline by using this plus and minus buttons. So if I want to zoom in, I can press this plus button or I can press the command and plus Parton to zoom in R on windows. It could be controlled and blast Burton. If I want to zoom out, I can either press this minus pardon our press command and minus on a Mac or control and miners on windows. So in this way, I can can compress our experience this timely. And now you might have noticed that here, initially this window was empty, right? So if I delete this here again, it is empty because right now I think it's an ideal time to introduce you to both. These previews preview windows and word is the difference. This one shows the preview off the clips in the media pool, right? So I can see the preview often visual clips before placing them to the timeline. And this one is specific to showing preview off the items in the timeline. So right now there's nothing in the timeline, so this is empty. But as soon as I drop one of these clips to the timeline, no automatically start showing the preview off the timeline wherever the player days. So if I move this play head, it shows preview off different sections off this clip. And here this shows the size off the preview right nights at 34% because I have set it to fit. So depending on the size off the window. Currently, it fits this video automatically into this size. But I can also select 50% or even 100%. And you can see that I can only see a small portion off that. So in these situations, if you want to see a bigger preview off this, an external monitor would be a good option. But let me just go back to the fit option. And this prayer is good enough for me Here it shows the length off the clip, OK, And then if I preview that if I played here here, it will show the frame rate are right. So right now, if it is not playing, the frame rate will not be shown. But when I played now here it shows the frame rate off that now here in the timeline If I want to play this, I'll press space bar want and it starts playing If I want to pause it, I just insert off this stubborn and I can also spend use the space bar. So press it once it plays, press it again and it pauses. And here this is the time court. It starts from 1.0 but as a play it here, you can see at the end. Here it is seven seconds and one millisecond, and here again, this is the pointed edges because the end off the timeline has reached. Now here you might have seen that. You know, this method brought the whole clip to the timeline, right? But in many situations, we don't want the whole clip. We in certain situations, we might want to just add a portion off this clip instead off the whole clip. So for that, we will go ahead to the second mattered, which basically helps us in selecting a portion off any clip. So now let's say I want the same clay, but instead, this time I want a portion off. That's what I'll do is I'll first double click to see the preview off that and see, it's only in the preview window yet. It's not in the timeline, right, because I haven't dragged and dropped into the timeline yet, so okay, so now I can bring display her toe the start. Now here is the video from which I want to take a short portion, so what I'll do is I'll bring this marker toe the start off the portion I want and let's say I want to start from this point. So what I'll do is I'll press I on my keyboard I for in point, and you see the remaining portion off the videos highlighted. As you can see on this white line, the initial this earlier portion is great out because it start from this point on. And now this is the remaining portion off. The video has been highlighted, and I can also do the same insert off, pressing I on my keyboard. Let me undo that. And here is a button, which is called Mark in Button so I can press that. And it does the same thing as pressing I on the keyboard so it creates a mark in point and again, the remaining portion off the video is highlighted so I can keep previewing further. And let's say I want a portion off this video starting from this position until disposition . So now this is where I want to create an out point. So what I'll do is I'll press on my keyboard and see this remaining portion off the video, which I didn't for it has been great out. And now this highlighted portion is what I selected. This is my in point. And this is my outpoint. I can also select the out point instead, off typing on my keyboard. I can use this mark out button. So if I undo this by pressing control Z on Windows or Commander on Mac And now I can press this mark out button, and it does exactly the same thing. So now this is the portion I have selected from this video. So this is how you select in point by pressing I on the keyboard or ah, this mark in button. And for selecting the mark out point, you press on the keyboard for outpoint our press this mark out Barton, and this is the way you select a certain portion from a big clip. So now if I drag and drop it to the timeline, this is nor the original clear. But this is a trimmed version off that starting from this position toe disposition. This clip basically shows this abortion off the original radio. Now off course, the amount of what is dragged down to the timeline depends on your in and out points. If these two points are farther apart, dragging will bring a bigger chunk off your clip to the timeline. And if they're close to each other, dragging will bring a smaller portion off the clips to the timeline so you can manipulate size off your clip using thes two points. So let's say I, uh, further manipulate these in an out point. So I press I hear toe finalize this in point and ah, let's click here and press school. So now this is a much smaller portion off the original clip. So if I drag and drop it here, you can see that this represents a much smaller portion off the original clip. You can tell from their length that the original in and out points for further parts of this broad, a bigger chunk off the original radio and here the in and out points were further close to each other, so it translated into ah shorter portion off the original clip. Now, another important point about these in and out points is that in the last lesson, we added some clips to the timeline directly from Vince. Now, if I had selected some in an old points indoors clips before adding them to the bends. When we create a timeline from that Ben, those in and out points will also be shown on your timeline. So this kind of helps in saving the work you have already done. Now, so far, you have seen that men v dragon, drop it to the timeline. You see that both audio and video portions off this clip are brought to the timeline as shown here with these blue colored portions. Thes showed the video portion off this clip and these green portions the shows the audio portion off the clip. Right. But let's say we have made a selection and now I want only are you off this clip? OK, so this is the portion and from this portion, I only want the audio. So what I'll do is you see these two icons that appear If I bring my cursor here, if I bring my cursor out, those are gone. But if I bring back my cursor here, these come up, these are visible. So what I can do is if I only want the audio off this portion, I can instead off dragging this whole flip. I can click here and drag it to the timeline. And you see, only the audio comes to the timeline because this way from signifies audio. So when I drag it, it only brings order you off the selected portion. What if I only want video instead? Okay, so for that I can click this frame icon and from here, drag it to the timeline and you see, now it is only the blue portion which reflects the video. There is no audio. So in this way, I can use this icon to add only the video off this portion, and I can use this to add only the already off this portion. And if I don't use any of these by default, both audio and video will come to the timeline as we saw before. So these are the two different ways in which we can import videos in timeline. By dragging and dropping, you can drag and drop clips to the timeline directly, and then do the trimming, which we will explore later in this section are you can use some initial dreaming here using the in and out points, then drop the clips in timeline and find June you're trimming in the timeline. What matters are okay, and it also kind of depends on your situation now, instead, off dragging and dropping it to the timeline. What if I drag it and drop it from the preview monitor to the program monitor? Ah, pop up window with seven options with appear, and each of these has a different way of bringing media into the timeline. So let's see each of them in detail in the next lesson. Hi, and welcome back in this lesson, we will look at a few more ways to add videos to the timeline and these matters air a little bit addressed and before starting a ward off caution. Some of these tools may seem confusing to you in the beginning, and that's what I thought while I was learning their insurers off. But just within a few hours of practicing these tools, all the confusion vanished, and I realized how useful these tools are to list a write in. And for this lesson, I have already added two clips toe the timeline, and I deliberately left a space or a gap in between. And now for this lesson, I'm not going to worry about the content off these clips. I just try to explain how the tools we're going to study, how those tools are used. So let's say that there is a gap on the timeline and I want to place one of these clips here in the cap. Now let's assume that I want to place the new clip at the starting point off this cap. So what I'll do is I'll bring the play head toe the start off this cab where I want to place the new clip. So let's say here is the clip I'm looking for. So what I'll do is ah, these were the initially selected in and out point. Now here, I think it's a good time to tell you how to delete the in and out points you might have already selected. So you see, the way we select in point is by pressing I to delete that in point, you simply press all IR option I Ardai for Windows an option I for Mac. Okay. And you see that in point is gone similarly, this out point. I don't want it any further trial press art or on Windows and Option or on Mac operating system and doors in and our points have been taken. Care off. Now what I'll do is I want to select some new in and out points for this clip. So I bring my marker here, Press I and a new in point of selector. Bring it here because let's say I want this clip to be placed here so I press Oh, not this highlighted portion shows which part off the clip is selected now? What I do is I drag this to this window, and here I picked the insert option. And as the name suggests, this will insert the selected clip at the current position off the play heard. So keep your eyes on the red. Play hard in the timeline. And when I press this, you see this whole new portion was created and this nuclear force placed that so everything else remains the same. Just shifted towards the right, and as a result, the timeline extended by an amount equal to the length off the newly inserted clip. So let me undo that for a moment by pressing Kamanzi on my Mac or controls you on windows. Now let me do it again when I press insert here, you see that initially, this was just a play hard. And here this whole area expended just enough to accommodate this length off the video. So this was kind of inserted within this narrow portion and the whole timeline got bigger. So, for example, let's say the initial timeline was 30 seconds long and if I inserted a five second long clips anywhere in that timeline now the new length off the timeline would be 35 seconds just giving you an example. And to look at the further tools. Let me go ahead and undo that now for the next tool. What I do is I drag it. And here this is the next tool which is called over right. And as the name suggests, it will overwrite an equal length off the timeline. So you see this portion off the timeline here there was a gap, and here there was a clip. So what? It did waas it replaced an equal length off the timeline, irrespective of whether there was a gap in in here already or are are a clip or a mixture of both. It does not look at that. It just looks at the length off their timeline equal to the length off the slip and just replaces that with the new clip. With this tool, nothing else will change our shift. So again I'll undo that toe. Look at the third tool. No, to demonstrate this third tool called replace. What I'll do is I'll select this clip and ah, what I'll do is there are no in and out point selected where I lose, I'll bring this clip, play head toe the start. Now when I drag it and select the replace tool, what it will do is it will look at what lies ahead off. This play had current position. So right now this is, uh ah clip. So when I select this replace option now, what it will do is it will replace this length off the clip with an equally long portion off this clip. OK, so the initial clip here Waas if I undo that, it was clip 11. So the length off this clip has not been changed. But just the contents off this length have bean change. So initially it was clip 11. Now it is just clip OK? Similarly, if I bring the player it here. And now if I redo this process now, this whole length is Group has been replaced with this clip. Similarly, if I undo that and let me repeat this for this cap. So now if I repeat that, see, this time it took a completely different length off this clip, depending on how long this cap waas. So it will take the appropriate portion off the clip, depending on whether there is a gap or there is a clip and also depends on how long that gap are. Clip ISS. So the length off this clip or the gap are used to select an equally long portion off the cliff. Three track Next we have is fit to fill. So for that, let me undo the previous edits. So if I picked this fourth option, which is called Fit to fill its also God, three point at it as I'll explain further in this lesson. So this option is used to fill gaps in the timeline with other clips. So suppose there is a gap in your timeline that you want to fill with this particular clip . So bring your play head to the start off the gap to be filled and, ah, set an in point for the clip that you want to place here. Press I to select that in point, and when you drag it and select this for it to fail option. It will take an appropriate portion off the clip long enough to fill this gap. So it will first look at how long this cap is and automatically select an equally long portion off this clip, starting from the in point with selected. And if I don't select an in point, it will just take this clip from the start. Now it is also called the three point at it. And why is that? Let me undo that for a moment to a new place. Your players on the start off this cap and press X in points and outpoints off this cap are created within timeline, and here is the in point in the time lining. Here is the out point, and I can further Jay Z's. But let's keep them here. Now. I go to the preview and let me select a different in point. So basically I have selected three points. This is the in point in the timeline. The out point in the timeline is the second point, and there's 1/3 point, which is the in point. So 1st 2nd and third point, these points have already been selected and I don't need to tell the fourth point or the out point here in the preview. As the venture is always take care off this part for me as you already saw. So what it will do is it will look at how long the gap is, and it will appropriately choose the length off this clip to completely fill that gap, starting from this in point. So see if I choose this option for to fill, it will automatically replace this cap with an equally long portion off this clip, starting from the in point. And similarly, if I create another gap in their timeline, let's create a different ah, you know, gap over different length and play hard. Is this the start of this gap? So let me press X And now these in points and out points have been created in the timeline . These are the first to point the third point. Let me select it here and now. When I repeat this process using this fit to fill tool. See, this time it took a completely different portion. Are completely different. Length off this clip. Depending on the length off this gap, I'll go ahead and undo all off that the next option is placed upon top. So what it does is it places the selected clip on another track on top off the clip already present in the timeline without over writing it. So right now, if I bring my play had here here is a clip already present in the timeline. So if I drag it and choose this ah, fifth tool which is placed on top but it will do is it will place this new clip exactly at the same location, but at the upper track without overriding the original track. So here was the play hard, so it did not affect the earlier track. It just placed the new clip on top off that in the upper track. So that is why, as the name suggests, it's God place on top and let me undo that for a moment. So, of course you can do it manually, right, so you can drag it and instead off selecting this place on talk tool, you can just bring it and place it on the upper track manually. Again. I'll undo that to demonstrate the next tool, and the next tool we have is apparent act. And so what it will do is it will place the selected clip at the end off the timeline, see, So, irrespective off whatever the location off the play head is currently, it will disregard that and whatever we drop into the timeline, it really replaced at the end off the time. And so if I undo that and let me bring my player to the very beginning now, it won't consider the position off display had at all. It was just bring it to the end off the time. And as you saw here and again, these pointed edges basically signify that this is the end off the timeline again, I'll under that And lastly, there's a tool called Ripple over right. And with this tool, we can ripple, overwrite a clip already present in the timeline with a new clip. So right now you see here this is the position off the play hard in the timeline, and this is the clip in front off that. So when I select this ah, last tool, ripple right, it'll just triple over, right? That clip already present here. Some of these tools are also available here above the timeline. As you can see, this is the insert tool, overwrite, tool and replace tool. These are all available here. So you have this. This and this. The three tools are repeated, but some are not, so it depends which tools are more frequently used. They also made them available here. These tools help toe easily select the right content or length off the video to be placed and the exact location in the timeline. I hope it wasn't too confusing for you, but thanks for watching this lesson and let's continue learning in the next lesson. 5. Controls for Preview and Program Monitor: Hey, welcome back to the course in this lesson. We will look at these control buttons for these two preview windows. So this window, as I already mentioned this is called the preview Monitor or preview window. And these are the control buttons for that. And then this is the program monitor. And these are the control buttons for that. This program monitor shows the ah, whatever lies in the timeline. And this shows the preview off whatever lies in this media pool. So let me bring this play head somewhere in the middle. So this, of course, plays the video. And right now it's kind of jerky because it hasn't been optimized. Ah, for playback here. But this one has been optimized this place pretty smoothly. So again, this place in the forward direction, this stops it and this button plays it in the reverse direction. And if I want to go all the way to the beginning, this is the burden for that. So this will bring this play head all the way to the Big Ning. This will bring it all the way to the end. Okay, so that's the working off these buttons. What? This does is if this is on as right now, this is shown in orange color. So this is on our enabled. So once this video ends in the preview, it will loop back again. So it will be playing continuously. So right now it has ended. But if I played again, it will keep playing over and over again. See? Okay, then what does this next tool do? As you can see here it is called Match Frame tool. And what this does is that when I set my preview toe a particular frame and I pressed this stool, what this does is it automatically moves this play heard in the timeline toe, that particular frame in the timeline. So this the name off this video is clip and it has already been placed in the timeline. And right now, the location off display head in. The timeline is random. As soon as I bring this cursor or play heard in the preview toe a particular location, let's say this particular frame and I pressed this button, it will automatically bring the play hard toe dart particular frame in the timeline. As you can see by the preview off the program monitor and you can see both off. These are exactly the same. Why? Because I set this frame pressed this button and it automatically moved this play heard in the timeline so dark particular frame whose preview is visible here. In the end, we have these two tools which we already saw in the previous lessons. One is the mark in tool, which is basically to mark the starting off a particular portion off a clip that I want. So let's say if I want to pick a particular portion off this clip starting from this particular place, I pressed this mark in Baden, so it start from here and let's say I want toe end it here. So I press this mark out button and only this portion off the clip has been highlighted, which is now selected. So this mark out button is same as pressing I on the keyboard and mark out button is same expressing Oh, on the key work. So now again, I can just ah, drag and drop it to the timeline and Aiken, drop dragon. Drop it multiple times. There is no limit to that. And also I can change these in and out points any number of times I want. So right now I just changed the's in and out points, and I can further bring them to the timeline. And right now you see that this represents a bigger portion off the original clip. And as you can see, this portion is longer than the earlier portion, because now he's in and out. Points are farther apart. So these are the control buttons for the preview window. And as you can see, these are exactly the same for the program Monitor. And they're working is also the same, except for just Ah, these. Maybe these two buttons and this one. What this does is let me bring my play head to one of thes cards, this spartan. It basically moved the play hard to the very beginning, and this moved it to the very end. But when it comes to the timeline, these wouldn't work a little bit differently because in start off bringing using this button instead of bringing the player to the very beginning, it basically moves in steps, one cut at a time, so pressing this one's it moves to the left. One step one cut at a time suppressing it once more. We'll bring it to this cut and ah Brexit it once more will bring it here and then here and now to the end. So it basically traveled to the very beginning in different steps based on how many carts it saw in the beginning. Similarly, this moves it to the right side on the timeline, but one cut at a time, See? So that's a little bit off difference in working off these two buttons between this window and different. Now here, I think it's a good time toe introduce you to do more cable chart cuts to navigate through this time line. The 1st 1 is function plus Left arrow key. So function plus left Hiroki. It will bring the play head to the very end off the timeline, and right now it's already at the very end. But if a press function plus left arrow key now, it will bring me to the start off the play head, so function plus left arrow to bring it to the start function, plus right error to bring it to the end. The other shortcut is the up and down arrows to move this plate head in the time line to the left or to the right one cut at a time. So if I want to move it to the left side 11 Carter time, I'll press the up arrow, and by pressing these up arrow again and again, I'm moving one cut at a time to the left side off the timeline. Similarly, if I want to travel to the right side one cutter time in the timeline, I can keep pressing the down arrows, and every time it basically moves to the next cut to the right off it. And you will notice that when you are learning the Vinci result, you will find yourself using most or track part a lot to navigate around. But as time passes by and you get more comfortable with the when she result, you will start using these keyboard shortcuts naturally, because thes keyboard shortcuts make your, ah, workflow much easier and much faster. Anyway, that's it for this lesson, and I'll see you in the next lesson. Hello and welcome. In this lesson, we will learn how to work with tracks or layers. The concept off tracks are layers is applicable for most video editing Softwares, you will have two kinds off layers or tracks. One is the video tracks, and the other is the audio tracks. So the word layer or track these can be used interchangeably. And here this is a video track. And this is the audio truck. Okay, so let me undo that. Let me delete this timeline and you see that as soon as I drag a clip to the timeline, these tracks are automatically created and by default there is one video track and there's one or you track. And in DaVinci resolve, video tracks and order tracks are separated by this horizontal line in the timeline. Okay, so above that Here, you see, this is we want. So we means video. So this is the first video track we want. If there is another video track, it would we be, too, on top off it, Similarly, right now, by default, that is one audio track, a one a for audio. And if there is another audio track, it would be a two. It would be below that. Video tracks are shown in DaVinci in blue color, and the audio tracks are shown in green color and here are the controls. So these are the controls for this video track. And these are the controls for this audio track. And if you are new to video editing, let me also introduce you to the difference between track and clip. So this horizontal section off the timeline horizontal section this is the video track. Okay, so this is the first video track all off it. This is the second video track, if it exists. Similarly, this horizontal portion is the audio track. And, ah, this is the empty part of the track. Here we have some clip, and each track can have one or more than one clips. So right now, in this video track that is one video clip, and similarly for this audio track, that is one are you clip. But we can have more clips added to each off these tracks. And these are the video in order to as the first, we're tracking the first audio track which were created by default. When I added a clip here, and I can create mawr with your audio tracks by clicking right clicking in this area and here. If I click this ad track button it will create a new video track so you can see this was the we won. And now this is another video track called We to and I can also create a new audio track by right clicking in this area. And when I spray est this button here, I have more options for order drag. I can create a model track or serious stereo or 5.17 point one adapter, and there are so many different types of adaptive. So let me create a mono track, and this is another audio track that has been created. Its name is a to, and similarly, I can also delete the existing tracks by right clicking on them and pressing delete track. Similarly, I can press this Ah, right click on this video track and deleted, and I can also create more tracks by dragging this clip and dropping it into. If I drag and drop it into this portion off the track, no new track will be created. But if I drop it above it or below here now automatically, another video and audio track will be created because this clip it contains both audio and video. If it was just video track without any audio. Only every Dutra a new video track would be created. And even after adding these clips to the timeline, I can further drag them and drop them two different tracks. So here it is, in the top track. But I can drag it and drop it into the track below it. If I want to delete this clip from this track, I can just right click here. And ah, is the This is delete selected, so that particular clip would be deleted from this truck. But let me just undo that for a moment. So, uh, what if we bring one video track above another video track where it does is the upper track . The opera video track would hide the video track below it. Right. So here this is the program monitor, which shows the preview off what lies in the timeline at the current position off layered. So I'm just scrubbing through this video track, which is in the 1st 31 position. And as you can see, as soon as I bring it, Okay, Right now, this is the same clip, so it's hard to tell the difference, but let me go ahead and delete it and let me bring another one. Okay, so now in this position, there is no overlap, so I can clearly see the lower with your track. But as soon as they're junction is reached. Now, this upper track, it basically hides the track below that. And now, in this whole area, I'm only able to see the upper track. This portion off the lower track is hidden by this portion above it. So in this way, when their arm or we do tracks above each other, the uppermost radio track would be hiding all the video tracks Baloch. Similarly, for audio tracks, there can also be overlap, which will basically mix those two different orders. So here there is an overlap between a one and a two. So here, both off, these would be played at once. So they these order tracks would be mixed. Now what if I want to change the type off audio track? Let's say I initially selected it. Toby Australia. But let's say I want to make it a mono track. So what I'll do is I'll rightly here and press this option, change track type two. And here I can select any off these Dr So initially toasty. But let me make it more so. These left most characters. These are the names for east track. So this is the V two with your track video one or you one order to and so on. And let's look at these controls. So these are the controls for this video track. These are the controls for this with your drag these other control for this audio track. So let's see what each of these does. The 1st 1 on this left most site. This is basically the law button. So if I lock it now, I cannot make any further adults to this video clip. Similarly, if I lock any off these tracks than no more, further changes can be made to that particular clip. Then there is ah, another control for these video tracks, which is this frame button. So what this does is right now this is disabled. But if I enable it, it would turn orange and there would be a cross line on top off that, which means that this track is hidden from the timeline. So you see, initially there was an overlap, So here this was being hidden from this track. But right now I can scrub through that. I can still see the lower track because the upper video track has been hidden because this hidden button is enabled if I disable it and the timeline play heard is in the overlap position, our again be able to see this clip and it would start hiding the clip below that See? So this has become visible again and it starts hiding that. But if I disable it now, the lower one becomes visible because the upper one is hidden. Now, what is this M button do in these audio tracks? It basically mules a particular track. So if I press this, it will turn orange and it will basically mute everything that lies in this particular track. So when I played basically, I won't be able to hear any off this already because it has been muted. If I bring this clip to the same audio track, this will also be hidden now, right? So if I played, I won't be able to hear any Rto. But if I enable this now, there would be some argue. Although the audio levels are very low here, but I can still hear some off the camera clicks. So that is how we can hide a video clip from the timeline or a mute and audio clip in the timeline. And we can use this solo or S Parton to mute all the other order tracks except for the interested one. So if I enable it, it turns green. Which means now all the other tracks have been muted except the interested one. And if I disabled that now that more is disabled and lastly out off all these tracks you can choose one active order track and one active video track. Sort off all the video tracks. I can make one off them active at the time and for from all the audio tracks, I can make one off them active at that time. So right now we have to argue and to video tracks. But we won out of thes two video tracks we want is active, and out of these two audio tracks, a one is active. What this means is that if I insert some more footage to the current position off the player to let me bring the play head to the end. Now, if I insert some more footage, it would automatically go to the default order NVIDIA layers. So, for example, here there is, ah, new clip that I can insert. So if I drag it and press the insert option, no, it would automatically go to this particular position off their time line, and it automatically is inserted into the active video Nordea tracks, which are a one. And we want Well, let's say if I undo this right now, the player it is in this position. But right now the active tracks are We want anyone as shown with these orange rectangles. So now if I want to make we too active, what I'll do is I'll simply click on V two. And now this is disabled, not disabled. But it is no more active track, and this is the active track now. Similarly, if I want distract to receive the audio off this clip, I will press this and now this is no more active. This is the active audio track. So now, instead, off these two active tracks now, the activity attract is here, and active audio track is here and see what happens when I insert this clip, it won't go toe these order individual tracks as it'd initially. This time it is inserted automatically into the active. We do track, which is here and active audio track, which is here. So that's how you can organize your media into layers or tracks. And that's how you select which tracks are going to receive the clips when they're sent to the timeline. So far, we have learned how to add videos to the media pool and work with timelines and layers. So now we're in good shape to learn how to do the editing. And we will explore that in the next lesson here, there. In this lesson, we will learn about the inspector menu in DaVinci Resolve 15. So if you go to the top right in this Ah, at it workspace here at the top, right. You will see a panel named Inspector, so if you click that this panel will come up and right now it says nothing to inspect. But if you select one off the clips from the timeline, it will bring up its details. So one of the clips from the timeline not from the media pool, so If you keep selecting any of this clip from the media pool, it won't show any details about them. It will only inspect clips in the timeline. So these are the details for this particular clip. And when I select a different clip now, these details were change. And inside the inspector menu here you will see this composite tab transform tab. Then we have cropping retirement scaling and lens correction. And if you're not able to see these options, make sure that you are in the video tab Northey Order type order tapas, different options off course. So right now we're seeing the video tab. So the first thing here under this video tab is composite so under the composite that there are two options. The composite Moore's These are all the composite more and then we have capacity and capacity means how transparent one layer is to the underlying layer. So right now the opacity is said 200 person. That means it is totally opaque. So if I bring one ah, clip on top of the other right now, this is selected ended, so opacity is 100% so I cannot see any portion off the lower clip because this is basically hiding whatever lies underneath, if I decrease the opacity, No. You see that on one extreme it becomes totally transparent toe whatever lies underneath. And if I increase it 200 person now it becomes totally opaque. So these are the two extremes, totally opaque and totally transparent to work lies underneath. So that is how the opacity works. And then we have the composite Moore's so you can select different Composite more. And if you don't know what these composite moors are right now, here we have to video layers overlapping. And the play hard is also in the same region where the overlap is. So If I select add, you will see a different affect X place, because it basically combines the overlapping layers in different ways right now, is it? It is Harding them the weekend Jews, different composite moors, and you will be able to get different results. Right? So pretty interesting. Then we have ah lightened light and color linear dodge and so many other options. And you can further modify this effect for a particular composite more by playing around with the capacity. Okay, so you could make this effect stronger or weaker by decreasing or increasing capacity for a particular composite. Mort. So this is the color burn, and I can make its affect stronger or weaker by playing around with the capacity. So that's the composite, more and capacity. And right now you can see that I have ah changed these values from the original default values. So if at any time when you're working with any off these options in DaVinci resolve and if you want to go back to the original default value wherever you see this girl arrow, this means reset to the original value. So originally it was headed normal. But right now it is not at the default value. Say, by pressing this carol, I can move it back to the original value. Similar the similarly the capacity I can reset it. Next we have the transform tool, and here there are lots of different options for transforming the clip. You can make this ah clip bigger or smaller by playing around with the zoom values, so Zoom X and zoom y. And right now there is a link between them, which means that both off them, if I increase or decrease one off them. The other one will increase or decrease by the same proportion because this link is selected. But if I disable that now, I can increase or decrease. The scale for XX is independent off the scale on the Y axis. Usually it's good to have these linked and let me go back and research them. Then we have the position so I can change the position off this upper clip by changing right now, it is selected, so changing these values will change the position off this upper clip. And if I increase there's exposition right now, you see the lower clip becomes visible from this ad. Similarly, I can increase or decrease the Y value and now you can see I can see the underlying layer from both these edges. But let me just go out and reset. Then we have rotation, angle and anchor points so these air kind off linked to each other. So right now, the anchor 0.0 which means basically the center off the picture, and if I now rotate it now, it will rotate the picture around the anchor point, which is 00 are the center off the picture. See? But what if I change this anchor point? What if I make it? Let's say 100 100 100 now. Rotating this picture would rotate it around a different point, right? Let me further maybe change it to 200 to further see the difference. And now you can see that anchor pointed eyes somewhere here. No, it's off center, basically. So by changing the anchor point, I can have it rotate around a different point away from the center. So that is how the anchor point and rotation basically work hand in hand. I'll research these. Then we have pitch, which basically rotates the clip around the horizontal exes. And then we have your which is basically rotating the picture around a vertical access. Okay. And lastly, we have these flip options flip ah around a heart around a vertical access so it will basically flip it horizontally. Then we have flip around off horizontal axis, which will basically flip it in the vertical direction. So if I have flip it now, it will become upside down. So these are all their transformed tools and let me go ahead and research those next we have cropping and under cropping, we have five different options. So for off these are basically to crop it from one of the four edges so I can crop it from the left edge. I can drop it from the right, Ed Ah, top head and bottom it. So now basically I cropped it from all the four ideas and now this is the new size off the crop clip and let me move it away from this overlapping region. So now I can only see this clip. And then there is a ter. There's 1/5 option which is called softness, and by default off course, its value is zero. So if I move it to the right, it will become positive grid in zero and it will start making its at its softer to the outside direction. Right. And you will see that as I increase it further and further the size off the clip will start increasing because it is making the Addis softer outside the edges. If I bring it back toe close to zero now here is almost original size and there is no softness on the edges. If I bring it to the negative side now, it will start shrinking the clip because it is basically making its at his softer insight in words. Okay, so this basically shrinks it and this expanded and both basically make its edges softer. Either doors inside or outside. I'll go ahead and, uh, reset all of the's down below. We have ah, these three time and scaling and lens correction options. These are a bit advanced features for you right now, so we make our them later in the course. That's all for the video tab. And then we have the next averages for hard. You here you can play around with the volume page and equalizer settings for a specific clip. So if I change the volume level for a particular clip, you can see here is the audio level and this ah white horizontal line. It basically signifies the audio level for this particular clip. So as I slide this William bar across, you can see that this horizontal volume bar will also go up or down accordingly. So here this is the full volume. Here is the minimum volume, and here is something in between. So this is how I can change the volume off a clip inside the inspector menu. So these are all the options inside the inspector menu, and that's it for this lesson. I'll see you around in the next lesson. 6. The Selection Mode: hi and welcome. Now we will start learning about the editing tools in the wind she resort. So all the editing tools are located in this particular area right above the timeline, and we can use them to apply different kinds off editing operations to the clips which are present in the timeline. So the first tool in this ah editing bar is basically the selection moored, and it's keyboard shortcut is a So whenever you bring your cursor to any off these aerating tools, it will show the name off the tool and the keyboard shortcut for that. So this is the selection more, and it's keyboard. Shortcut is a This is the trim. It'd more than its keyboard chart, cutest tea and so on. So this is the first tool in the editing time, and we can use that to move around clips in the timeline. So let's say if I have this clip here in the timeline, as this tool is active as shown in the orange color. So with this enabled, I can pick these ah clips in the timeline and moved them around. I can change their track. I can move them to the different positions and so on. Now, whenever you pick any off the clip, both its audio and video would be selected by default. So right now, I just click on the audio and it also selected the video by default. Why? Because these are linked to each other. But if you want to select one off these either the audio portion or the video portion independently, what you can do is there is a keyboard shortcut. For that. You can press option and ah, shift on a Mac operating system are on windows. You can press art and shift, and then click on the video track or the order dragon. Now you can select them independently and know when you will move them side with. There would be a red box on both off these clips, which will show how much they're out off sing with each other, right? So when I bring them back into sync with each other that read, books disappears. But right now it reappears because it detects some out of sync between these two portions. Now, the default ship off the cursor within this more is this arrow. Okay, but if I bring this arrow toe the edges off any off the clips in the timeline, its shape changes like this. What I can do is now, if I click here, I can basically trim it short or make it longer. Okay, So in this way, I can trim the edges on the left side or the right side. So it's just like changing. The in points are all points off this clip. But from within the timeline and as I trim one off these badges, this program window will show where I am currently art in this clip. See, as I'm moving this at the view in the program monitor is changing. So right now this clip is kind of similar throughout, so you don't see much difference. But if I select a different clip and now if I trim it from this edge, he will see that the view changes and during trimming, if you see this green add. That means there is still room to make it bigger because in the original clip, there is still some room. So here, right now, the edges green. That means I can still expand it. But there is a limit. And here, when this original clip is reached, it turns track. That means there is no more room to expand it. But in words, I can keep shrinking it and it'll stay clean. So as soon as I reached the boundary off the original video, it turns Fred. But within the boundaries it will stay green through art. And also if I have more than one clips in the timeline. So let's say, Let me delete that and let me bring this video select and in point for that and output for that and let me drag it to the timeline. And similarly, let me select one more clip pickets in point, pick a different out point and let me also bring it to the timeline. So now what happens if I bring my cursor here in the normal edit more? What happens? Basically, I can move around this junction, which basically means that for the first clip, I am moving the out point and for the second clip in this timeline, I'm moving. It's in point, OK, and here you can see in this program monitor. Whenever I click on this ed, it basically shows me the out point off the first video on the left side and on the right side. It is basically the in point for the second clip in the timeline. And as I'm moving, this had both these in points and out points for both. These videos are changing, so in this way I can keep the total length same, but the portion off the forced lip and the second clip I can change by moving around this junction point. So that's the selection more, and that's how we can use it to move clips around in the timeline and do simple kind of trimming work. In this lesson, we will look at the second tool for trimming, called the trim at it more with which African trim clips in different ways. So before proceeding, let me juice clips. This is the first layer plate, me picking in point for that, an outpoint drop it into the timeline. Then I picked another one. Choose the in point and outpoint and drop it to the timeline as well, and let me zoom in a little bit. So this is the trim at it more. It's Symbolist E and let me select it and it turns red. And with this more on If I click in the middle off a clip, it will assume that you have already taken the correct length off a clip from the video. So it will not in the length off the clip but will help to Jews different start points. In the original video, you can click it and drag it to select an equally long but a different abortion. Off the original radio, you can see that the white bigger boundary is the actual radio original video from which we took this clip. So this basically gives you a feel off where you are currently in that bigger video and the red rectangle inside that it is basically the actual clip we took from that video. And as I click here and drag it around, you see that the red rectangle is not moving. That means that the length off that smaller clip inside the bigger videos same and as I move it around, it's only giving me an option to choose a different starting point. So in this way you can choose a different starting and ending point, and also you can see that as a drag it around in the program monitor you will see multiple images. And this is actually called Dick Ward View. So right now in the squad view, you see that the top left image is basically the in point for this shorter clip. And the top right is the out point for this shorter clip. And to demonstrate were discord view shows. Let me move these around a little bit and let me add another clip here. So this is the in point and outpoint already defined for this clip. Let me bring it here. Just before this clip. Let me also bring it here. So now we have two more clips in the surrounding off this clip. And if I select this and drag it around in this quarter view now you can see the four pictures. So the top left is the in point for this current clip top, right? Is the out point for this clip, But in the bottom, you have two more cliffs now. So the bottom left is the ending point for this clip right here where it ends. So you see, this is somewhere here It ends. So in the cord view, it will show up here. See? Similarly the bottom right is basically the starting point or in point for the next clip, which is this. So if I bring my player here, you can see these flowers so these will show up in the bottom, right in the core view. So basically, quarter view not only shows you the in point an out point for the currently selected clip, but this also shows you work lies in its surroundings. So if I move one off these clips No, If I see the court view bottom right would be empty black space because there is nothing right after this current clip. Also intimated more. Do you see different types off cursors depending on where you are pointing toe in the timeline. So I think it would be very useful to go over each off these cursor types and what they do . So the first type, of course er I'm going to discuss is when you bring your cursor to the edge of one of these clips inside at until you see this kind of cursor, what you can do with that is when you drag it inside off the clip. What you see is that this cap and all the remaining clips on the timeline. These are also pulled inside towards the direction off dragging, so basically no additional gaps are created. Everything else on the timeline drags with that and with the same cursor. If I push it outside, what it does is it basically adds more footage. If I was in the selection board, it would just push and over, right Dramatic more adds more footage and makes room for it by sliding everything to the right. So this is really useful in large projects when you have a lot off items in timeline and you want to modify just one clip without affecting anything else on the timeline using the same concept, I can increase or decrease the size off this gap by using the same cursor from this side are from this side as well. And you can see that when I did that, both the audio and video portions off this clipper moving together. But while doing so, you have to make sure that these tracks allow for these kind off slip at its. So sometimes if you're doing these kind off slips and you see these kind of weird patrons where the order is going in one way and the video is not moving our it's going in the opposite direction. Chances are that these buttons are December. So you see, right, not this pardon is enabled and this is disabled. If you see these kind of weird behavior, what you need to do is go back and confirm both off. These should be active. And now if I change this, both audio and video will move in the same direction with the same speed. Let me undo this out of sync. And now if I redo this, you can see that audio and video are moving at the same speed in the same direction. So that is how to fix that. This kind off cursor shows up when you hover your cursor on top off on empty cap. And with that, what you can do is just click in this area where the gap is and the gap is selected. And now you can press the delete button to get it off that let me and do that. Then we have this kind of cursor, and that is enabled when you are in the middle off a clip. And with that, you can press and slip and slide your clip in timeline, you can see that the endpoints are fixed, but content inside them is changing, and you can move all the way to the beginning like that. Our doors, the end and you see that Dick Ward view is also showing when this cursor is enabled. And when I'm close to the edge of a clip, my cursor looks like this, and with that, I can trim it and everything else moves in the direction off, trimming in order to fill the gaps created automatically. Otherwise, I would have to move everything else on the timeline to fill the cap. Lastly, if I bring my cursor to the junction off to neighboring clips, it looks like that. And by clicking it and moving it around, I can shift this junction. So basically what this does is it increases the length off one clip and decreases the length of the other clip. But the total length off the overall combination off these two clips does not change. Nothing else moves on Lee the junction or the card is shifted, so these are all the different ways of training with the trim at it. more. I hope that's clear. If not, please don't hesitate to let me know so that I can further explain it to you in the Q and A section. Thanks for watching next in the list off a rating Tools is razor at it, more with a keyboard shortcut B and it actually looks like a blade. So this is used to trim and create cards in the clips. So if I have ah, this clip added to the timeline. And now if I enable this morning, this will turn orange, showing that this is enabled. And with that enabled, if I bring my cursor on top off clip, can you see this tiny vertical red line scrolling across this clip? That is basically where I can create a cut. So if I click here, a cut will be introduced in this position inside this clip. So now that clip has been split into two. Similarly, I can create a cut here and instead off clicking. I can also use a keyboard shortcut to create a cut at the current location off this vertical line, and that is command be on a Mac operating system or control be on a windows so I can cut and delete unwanted portions off the clips using this tool. So let me undo all these cards. Next in line are these three tools grouped together. And this is Theo. Insert, clip, overwrite, clip and replace clip. And these are actually same as when I dragged my clipped to the program monitor here. These were remembered there were seven options. So the more frequently used options of the top three and these are also available here. So if you have ah, in an hour points defined for a clip and your play head is set at a particular location in the timeline, you can ah, press any of these buttons. So in this way, you can insert or override or replace different portions off their timeline with the required clip, and I can even inserted multiple times so have inserted it once I can press it again to insert it once more and so on. So, in this way, I don't have to actually drag it toe these options, Aiken, just select the internal quiet and press one off these options to a very So now I'll go ahead and undo these insert. Okay. Next we have is the snapping tool with a keyboard shortcut off. And And let me bring my moored toe the selection more instead, off displayed more and let me move these away from each other. So this snapping tool is enabled by default. So with this snapping tool enabled if I bring any to neighbouring clips close to each other at some particular distance, they will lock with each other. Okay, they will snap into place and you will see that the small little triangles appear on the edges. So with this more on, I don't have to move them precisely close to each other. They just lock into position automatically. So if this snapping more this off now, I can select them and bring them close to each other. And now they won't be snapped and they will keep sliding against each other. So sometimes if this morning off and you want to bring thes neighboring clips in contact with each other, sometimes you can accidentally create small gaps in the timeline. If you don't do it precisely, or if you're not careful enough and you can avoid these kind off unwatered gaps by turning this more on and snapping them together like this. But on the other hand, sometimes when you're trying to find your own things, you may want to turn this snapping more off temporarily. The next one in this list is linked. Selection. So what this does is this basically links audio and video portion off the clips so you can see these link symbols on these clips, so that means they're arguing with your link to each other. So previously we saw one way to select order and video independently, and that was to press option and shift on the Mac operating system or our shift on Windows operating system and press any of thes. And now we can select them independently, right? But using this tool, if I disable that now, I can select these audio and video independently without using that keyboard shortcut, and I could move them in this way, although this basically makes them out of sync. So let me just move them back. But if you want to on link audio and video, this is the tools that you need to disabled. So if I enable it now, both of these would be selected. If I disable it now, I can select one off them independently and move it away. So let me go back and enable this link selection tool because that is how it is by default . The next tool in line is position, lock. And what this does is this basically locks the position off all the clips in the timeline. So right now you see, all of these tracks are unlocked. Thes locks are open so I can move them around. But if I enable this tool, that means you will see that all these locks would be enabled. And now everything is locked into position and timeline, so I can although select them. But I can no longer move them around. So there's the function off this position lock. It basically freezes everything in the timeline. Then we have ah, this flag stool and you can see that with this pull down menu flats come in all different colors. Okay, So what flags does? Is it basically flags? A particular clip and you may want to flat different clips for different reasons while you're hurting. So let's say I want to put flag on ah, one of these slips, and right now it turns out that both off. These are repetitions off the same cliff. So let me delete one off them. And, uh, let's say this is the clip I want to flag. So as soon as I select this clip and prestes flag, that flag appears on this clip and I can have a different uh, I can have a different clip in the timeline, and I can give it a flag off for different color. So I selected and let me give it Ah, blue flag. You can see that this clip has a blue flag. This clip has a yellow flag. Now you see that this clip has a blue flag. So when I create a copy off this clip, this flag would also be repeated on the copy or the duplicate. Right? So now I think it's a good time to show you how to create a duplicate off a clip on the timeline. So if you want to create a duplicate off this track, what you will need to do is he will select this track press the option on Mac operating system, are all on windows, and while holding that key, drag it all the way and you will see that you get a new copy off this and this duplicate copy. If I zoom it out, you see that this was the original clip, and this is the duplicate. And you see that the marker is repeated on this by default. Now let me undo that. And while creating a duplicate, you need to be careful that when you selected and duplicated, you need to drag it all the way across. Because if you stop somewhere in the middle than this overlapping portion, that is where the original track would be trimmed, right? So if I move it sideways now, you can see that this is the duplicate, which is the full length. But the original one, it was trimmed because I stopped somewhere in the middle and original clip got tripped. So whenever you want to create a duplicate selected press option or all and drag it all the way across so they can so you can get a complete duplicate and the original one isn't trimmed either. And let me hide the media pool so that we can get some more real estate. So again, if I flag some clip, that flag will be placed on wherever that clip is being used on timeline. So that's how you can highlight certain clips on timeline for specific reason. And, as I said before, different colors of flag may be used for different reasons. Next we have is markers and markers air similar to flags, but these can be placed on a specific frame. For example, you can place marker on a frame where you want a particular effect to be applied, or you want to sing that frame with a specific portion off the audio. So let's say this is the frame where I want to apply. Certain effect are I want to sing it to a particular portion off the audio. So this is the particular frame being shown in the program monitor so I can apply a marker here off a specific color. Let's say I want toe apply a pink marker here, so this marker shows up here and let's say there is another frame where I want to do something else. And here ah, to remember that frame, I want to place another marker off a different color. So let me place green marker here. So in this way I can mark certain frames in my timeline, and I can revisit them later on so you can see that this particular clip has two markers off different kinds and one blue flag on it. So these are all the editing tools in the win she resolved. I hope now you know what they do and how we can use them to our advantage. So play around with them using the footage I provided to you in the course resources. And if you have any confusion or questions, feel free to drop a question in the Q and a tap off this course, and I would love to help you out with that. I'll see you in the next lesson. Hi, and welcome to this lesson. So there are a couple ways in which you can see the timeline, and that is done using the this timeline view options icon. And when you click that a new pope of window appears and this pop up window has a lot of options to customize the display off the timeline. But before that, let me close this media pool so that we have more real estate to look at the timeline. So I go to this. Ah, timeline view options. So the first option is for stacked timelines. And right now you can see that there is just a single timeline here. So if you want to create a new timeline or if you have multiple timelines and you want to switch between them, that is what you need to enable. So, initially it was already enabled, but right now it is December. So this is how it looks like by default. But if you enable this now you have a separate area where you can switch between different timelines. So this is the current timeline. And by clicking this plus, I can create a new timeline. And this is right now empty. I can further go ahead and deleted because I don't want it right now. But this is how you can create multiple time land and how you can never get between them. Then we have an option for subtitle tracks. So if you have subtitles in your project, you can enable the track for subtitles here and this next option. It is for audio way phones which basically shows or hides the way from off audio in your audio track. So right now, You see, this is my audio track, and ah, for these clips, the order is really low. So let me go ahead and select this and go to Inspector. And ah, are you and let me further increase the order level. And now, if I go here, if I click this, I can see the audio levels. If I click it again, the audio levels are hidden. So in this way I can enable or disable the order you a form for the audio tracks. And these three options basically change how images or Tom nails off. The clips are shown inside these clip windows. So right now you can see that this middle option is selected so I can only see for East Clip. I can see one image at the start and one image. Rtn are one frame of the starter won fame frame at the end. If I click this option, no, it will show as many images or frames it can fit possibly into this particular window. So right now, if I zoom in, you can see that more and more images can be fit because it becomes wider and I keep zooming in and more and more Tom Nails are created within this. But if I zoom out, the width decreases so lesser frames can be fitted into that. So we're zooming in, more friends can be seen and zooming out results in lesser frames again. This one only shows one frame at the start and one frame at deer, and this one does not show any frame at all. It just shows the audio and video tracks. So if you have lot of tracks in your project, maybe you can use this last option to see a lot off tracks at once. And in the end, we have these track heights for audio tracks and video tracks. So using these two sliders, you can change the heights off video tracks, and you can change the heights off the audio tracks. So even if I change the clip view options toe multiple Tom nails or just to Tom Nails, I can still increase or decrease the video height are the audio height. So you see right now to Tom, nails are shown, and I can change the height off the video. I can change the hide off the audio tracks, and even if I change it to multiple Tom Nails, I can still change their heights, but on the other hand, I can also change the heights off thes tracks from, ah, within timeline. So here, when I bring my cursor to the edge off this video track, Aiken, slide it up or down to change the height off this video track. Similarly, I contain the height off the audio track by sliding its edge up or down for me. Personally, I usually make video tracks shorter and make audio tracks dollar and show audio reforms. But that's a personal preference and also what you get used to. And in the end, we have this slider zoom in or zoom out on your timeline. You can zoom out to see your complete timeline, or you can zoom in to see some part off your timeline closely, and it resumed out or in based on your current location, off the play head. You can also hold down option on Mac operating system or all on windows and use the most scroll real to zoom in or out on a timeline. So these are all the different ways in which you can customize the way timeline is displayed. I hope you're enjoying the course and learning some useful skills. Thanks for bearing with me and let's head over to the next lesson. 7. Adding Background Music: hello and welcome. In this lesson, we will learn how to add background music in DaVinci result. So let's say we have these couple clips added to our timeline. So we want to add some background music, so I'll go back to the media tab and here I will never get to the music on my computer that I want to add. So let's say this is the track I want to add, so I will bring it to the media pool, and now I can go to the edit tab and here it shows up so I can just drag it and bring it down in the timeline. And chances are that you will have some unwanted portion off the music. So you off course want toe trim it. So one way could be to just drag it like this are you could just, ah, go to the resurrected mortar press B and bring your, uh, cursor to wherever you want to trim it to. So I will turn on the snapping and also zoom in. And now it basically snaps to right there. These clips and I can insert a cut. No, I can select the selection more selected and press delete to get it off that so now we basically dreamed that audio right to which our portion we wanted Then we also might want toe add some failings and fade outs. So to do that, you can just pick this notch at the top. Ads off the music, bring it like this and now it will nicely fade in. But this is kind off, a linear fading. We can also have a nonlinear fair in using this Ah, little point so I can move it around anywhere, and I can also move it up and down. So in this way, I can create any kind off, non linear pattern for Fred and I want I can have it go curb upside or curved. Don't side like that. Similarly, I can move this not hard and in this way I can create any kind of non linear pattern. And if I played now, it's a much better fit and similarly, I can implement a fade out at the end by pulling this not inside. And I can also further converted into a normal year fashion using this point. Okay. And right now, you cannot see the reform for this audio. Why? Because if you go to the timeline view options, this might not be enabled. So if you enable that now we can see the way form. And I can also turn the volume up or down using this horizontal line, and in this way I can treat the volume level. This is too high somewhere here. And also, let's say that, uh, there is not much audio in the Indies clips, so you might want to get rid off that, because in these particular clips, there are only the sounds off camera clicking, not much audio otherwise. So, if you want to get rid off that you can just right click on this or do track that you want to get rid off and pick this delete track option, and that is God. So that's how you can add audio to your composition in DaVinci result. And that's how you cannot fade in and fade out and play around with the audio, are even delete some audio tracks if you want to. I hope that was useful and thank you for watching See you in the next lesson. Hi there. In this lesson, we will learn how to apply basic audio facts and when she resolved. But we won't go very deep into audio because this is primarily a video editing course. Anyway, let's had some video clips back to back on the timeline and let me also bring some background music so that we can apply some hardy effects on that. I'll go back to this media workspace and here I can go to the music and and as you can see right now, we can't see the reform for the audio track to enable that I can select the required track , go to the timeline, view options and hear this option. The way from option is disabled. So if I enable that now, all these were forms are back. No, If I play that, I think the volume level is quite high. So if I want to decrease it, I'll select the required clip for which I want to decrease the audio, go to the inspector and here I can decrease the volume. This is in decibels, so I think this should be fine thing. Okay, this is better. And we can also decrease the audio level without going to the inspector. So for that Ah, you can just ah me make it bigger. And here, if you see there is a horizontal white line which is normally great out. But if you click on that, it turns white, you can bring it up or down to decrease the volume level directly from within the clip. So if I played okay, that's fine. And now there is some audio in these video clips as well. Some camera clicks. So if I played, you can hear some off that right now. I just want to hear this background music so I can disable the audio for this whole track by pressing this m and for mute. So this is the audio track. And when I pressed this m but and distance orange and now you can see that this are turns Cray. Initially it waas ah green, which means the audio was enabled. And if I press it now, it all turns gray. So that means the audio has been disabled for that. So now we can only hear the background music. The length off this audio track is quite too much for thes clips. So to trim it, I can bring my cursor here and just bring it back to align with the end off the video clips . And now we can zoom in. And if I played, I want to apply some fares to the start into the end because right now it kind of starts abruptly, although it's not too abrupt. But let me just apply some fed in here and fade out here. So for that, let me increase the height off this audio track so that I can do it precisely. You see, if I want to apply the Fed to the end, I'll just bring my cursor to the end. And here, you see on the top, right corner off this clip. This little white guy, I can grab it and bring it inside. And you see this slanted line This shows basically the order level gradually drops instead off just abruptly stopping it here. So if I played okay, that's nicely fading out. But I can further tweak it by moving it inside further and ah, right now this is in a linear fashion. But I can make it girl upside or curve down side by picking this little point and moving it anywhere I want. So this is kind off, slower decay off the music level. Yeah, this is much better. So just by grabbing this white guy and moving it inside or outside, it basically applies a linear fairly nor fade out. But I can make it known Lee nearby moving this little point. Similarly, let's apply some nice Fred in at the start. And for that, this is the little guy. I can move it inside and further. No, not the volume level. But I mean moving back. And this little white point, I can decrease it further to gradually increase it in a non linear fashion. And so now it nicely fades in and fades out. So that's how you can apply some audio transitions. You can also key frame the audio if you wanted to and have it go up or down whatever it may be. And for that purpose, let's pretend that there is some voice over here in this particular region and we don't want to drown it out by this loud background music. So what I can do is we can decrease the volume level for this background music only within this specific region for that. If I just decreased or increased the volume level here. It increases and decreases for the whole clip, but I just want to decrease it for this particular region in this clip. So for that we can use key frames. So basically what we will do is we will apply a key frame here which will decrease the volume and apply another key from here, which will gradually increase the volume back to its traditional level. And if you're a beginner to video editing, I think it would be important to define what the term key frame means so that there is no confusion at all Well in media production, give frame is a location on the timeline that marks the start or end off a special effect, and that effect could be an order of fact or a video effect. Give frame carries the information about where that affect starts and where it stops so we can apply a few key frames here or you key frames and apply a few more key frames here toe in served order transition in this region. So let's pretend that this is the area where there is some voiceover and we want to decrease the music level in this particular region so that yours can hear the voice over. Clearly, I'll bring my play hard in this position where we want to start decreasing the volume. So here I selected it toe. Tell them when she that this is the clip to which I want to apply a key frame and this is the position and I'll go to Inspector. And here there are a lot off effects. We have a volume effect. We have semi tones sense and so on. But right now, I just want to apply a volume key frame in front of all these options. There are these darts and these dots signify key frames. And these grade darts means right now there are no key frames applied. I want to apply a key frame here. So you see, as soon as I press it, it turns red. And there comes a dark in this position here. I want to decrease the volume, but we don't want to decrease it abruptly. So let's apply one more key from here so that it starts decreasing from this point and it keeps decreasing until this point. So apply one more key from here, then this is weird. The already effect will end, so apply one more key from here. And this is where the volume will start, increasing back to its original level supply one more key from here. So there are basically four portal key frames. You see, wherever this play had overlaps a key frame, it turns red. Wherever there is no overlap, it turns create. So here there is a key frame here. There is another key frame and everywhere else it is great. So now let me zoom in a little bit into this region so that I can play around with these G frames precisely. And for that, let me bring this play head to the center off the region that I want to zoom because when I zoom in, it basically zooms in around this play head. So zoom in. And now we can work with these key frames so I can bring this Don't and you see this audio level start decreasing starting from this first gay frame and keeps decreasing in a linear fashion to the next key frame. Similarly, I can further decrease it. And now I think this is at a uniformed level with me further decrease it may be and let's have a preview. Okay, so you see that as soon as it enters into this region it nicely decreases the volume. And then when it's about to end this region, it nicely goes back to the original volume level. And in this way, I can decreased this argue level to any value I want. And this is how we can apply the volume transitions to certain regions using GIF rims. If I further zoom out here, you see that it nicely fares in nicely fared Sultan in the centre somewhere we have this voice sore. And for that particular region, we applied some key friends to decrease the volume. And if we want toe, delete these G frames, let's see if some of these G frames are not required anymore. Weaken just deleted. Delete this one delete and delete. So we're back to the normal value. And again, why did we need those key frames? Because otherwise, if I want to decrease the volume for selective regions, I cannot do it for individual reasons, I have to do it for the whole clip. So for any audio effects to selected regions, we have to apply key frames. So that's how we manipulate audio and use key frames and DaVinci result. And I hope you found that useful. Thanks for watching and else you in the next lesson. Hi, dear. In this lesson, we will learn how to apply video transitions. And one important thing regarding Ridge organizations is that, let's say, here there's a junction and you want to apply some video transition. So make sure that both these clips where you want to apply with the transitions both of those clips are on the same track. So here we can apply some video transition. But if these clips are like that, where one clippers in one track and the other clip is in a different track here, we cannot apply with your transition. So bought the clips there. You want to apply video transitions. Both of them need to be in the same track, just letting you know. No, the first and the simplest video transition you can apply is the fared in and fade out. So for that you need to be in the selection more. Okay, If you are in any other more, it won't work, so you need to be first in the selection more. And then whenever you bring your cursor to the edge off a video clip this top corner there will be a small marker here and you can move it wrong to create the fade in or fade out. So let's say I bring it inside so this will create a fade out. And if I bring my play had here and move it, you can see that this is ah ah, you know, right now this is snapping. So let me turn it off and now you can see that it nicely fades out, okay? And let me also meal this track So that's how you can apply. Fared out. Fade out to black and ah, we can also apply Fared in from black to the very beginning. If I bring my player it here, you can see that it starts from black and gradually fades in. And I can change the duration off rairden or fared out by moving this point around. So there's a very simple video transition fade in and fade out, and it can be applied without any key frames. Now, for the remaining transitions, we need to go to the effects library where all the transitions reside, so enable this panel. And here we have three tabs. Okay, toolbox, open effects and or the effects. So for transitions, we need to goto toolbox. And here we have our dear transitions and we do transitions. So let's apply some off these video transitions to these junctions here. These are hard youngsters right now, So when one ends, the other clips starts abruptly, as you can see. But it would be nice to have some gradual change from one clip together. So let's first bring the narrative resolve, drag it. And by the way, let me also turn this snap on. And with that, whenever I bring it, it will either snap to the start are. And so right now, this is basically snapping to the end off the first clip here. This is a T junction here. It's earthy. Start off the next junction. Okay, so at any junction we have three choices. The end off the first clip, the junction itself, and the start off the next clip. So any of these can be selected. Let me just drop it at the junction and watch this transition closely I can bring my play heard here. Zoom in increased the area for the timeline. And here if I further zoom in and move the play hard, you can see that this gradually Ah dissolves from the 1st 1 to the next clip. Okay, so this is the transition and I can further change the duration off this transition by selecting it and prolonging it are decreasing its duration. And if I wanted to delete it, I'll just select it and press delete. But for now, let me undo that. Then here is the next junction and let me apply a different one toe This junction so blurred dissolve here. And this is currently the duration off this but I can further select it. And just like before I can prolong it are make it quick. What? And if I bring my play heard here, you can see that it basically gives a blur effect at the junction. So it gradually Ah, So it gradually transitions from the first to the next clip in the form off a blur effect. Then we can apply a different effect toe the next junction here. Let's use the cross dissolve, and it can be placed at the end, and it can replace that. The end off the first clip at the junction are the start off. The next clip will and replace it at the junction, and this is what it looks like. See. It gradually dissolves from the first clip into the next one. So in this way we can replace simple cards on timeline with some nice with your transitions . And if I zoom out, we have fading in from black, fitting out to black. And then we have some different video transitions and each off the carts. And, of course, these were just three off the video transitions. If you scroll down, there are many other really affect that you can use. And if I don't want any off these effects, I can simply zoom in, selected and press delete, and it's gone delete. And similarly, if I want to decrease this fed in from black, I can further change this point. So that's how we can make use off radio transitions in DaVinci Resort. Thanks for watching Hi there. In this lesson, we will learn how to add text and titles, so when it comes through texting titles by default do when she does not come with a ton off stuff. But still, we do have some decent options and let's explore them. So to add text or titles, you need to go to the effects library. And for now, let me close the media pool. So we need to go to the effects library. Then we have three options or the effects open effects and toolbox. So we need to select toolbox. And when you go down here, we saw the order transitions and video transitions previously, but underneath that you will see titles. And here there are a couple different types off titles. We have text scrawl lower third, um, right lower third, middle lower, third and left Lord hurt. So let's start with text. So I dragged this text option and drop on the timeline. And if I bring my play heard here, you will see that there is just a simple world title. This is the duration off the title. It starts right in the beginning and that is very turns. And I can further prolong it are have it lost a shorter. So if I selected here, it starts right in the beginning and that is we're returns. And ah, if I want to change the start position and duration, I can just drag it around toe, change the start time and I can make it wider or narrower. Toe increase or decrease toe duration. Okay, so let's bring it right into the beginning. No off course. We need to customize this title. So for that, we need to select it and enabled this inspector panel. And here we have all the different options to play around with this text so we can modify the text itself here. So let me type Joshua Cree and I can change the forint and foreign face. Make it light or bold. Let's make it bold. I can change the color so this looks fine. Okay. What then? We have different ah options to change the look off this text. We can increase or decrease the size off that. Ah, this Ah la The spacing between correct er's I can make them narrower or shorter line spacing. If I had multiple lines then the forint style for in case I can make it all upper case or lower case or mixed. Then we have the alignment, but right now that is just Ah, single line. And ah so let's have it left. A line or center line doesn't make much difference. Anchor Point Which edge or centre? It's anchored so I can have it anchored to the talk to the bottom toe, the left test to the middle, to the right edge and so on. So let's bring it to the center. Then we can change its position well. What indie The result. Alexis Oh are vertically change its zooms right now. These air links so both vertical and horizontal zoom would work, but I can unlinked them to zoom. Either horizontally are vertically, but let's link them back rotation. I can have it rotated, but I don't need that. And similarly, we can also apply some key frames. Okay, so that these position or zumar these change with time. Then we can also apply some drop shadow. But let's have some green drop shadow. I can change the position off the drop Cheritto. Horizontally or vertically, I can have a blurred, are sharp earned and change the opacity off the drop shadow. But I don't need any drop shadow, so we can also add some stroke toe that change the size off the stroke? Okay. What? It's change this, uh, the blue. Then I can also have some background window to further make it highlighted and for their let's bring it to the top, increased my position. And now we can also add some background window to that. So let's keep it black. How Klein color. I don't need any Oakland color outlined with. There is no outline. This is the word. Let's have it all the way across the screen. We can change the height or we can change the position. So let's bring them down a little bit so that it completely overlaps with this text. And let's change the color toe. Maybe yellowish or even blackish, would be fine. And now we can also play around with the capacity and this one looks good. Okay, so this is the duration from all from the very beginning up to this point, and this is, ah, the duration where the text or the title would show up, and I can also have its edges rounded. But let's keep it rectangular. So these are all the different ways in which I can customize the text or title and add some background to that. So all the text modification options you will find in a word processor 8. Adding Scrolling Titles: So that's how we can add some simple expert titles and customize it. But this is a simple tax. So let's also look at some more texture title options. So for now, let's ah, delete it. No, let's play around with the scrolling titled So I just drag and drop them to the beginning And ah, right now this is left the line. So to customize that I can select it have the Inspector Bannon enabled and now I can further customize it. Joshua Tree, Give it a different forint. Have it center aligned on. Let's increase the No, this is a little too big. So this is fine. I can change the alignment. I can change the anchor and cut it to one of these edges or to the center. Then I can change its ah color. So this looks good. Okay, further Add Cem, drop shadow if you need to. Let's add some black drop shadow position. I don't think we need any drop shadow. We can add some background increased of words and increase the height change its position capacity. So all the different text customization tools that we started before that we looked at before and Let's disabled inspector menu. Okay, so this window won't be moving with the scroll. So that's delete that window factory on. We don't need any background. So now when I move this cursor across, move displayed across you will see that the scrolling text basically start from the bottom and scrolls all the way to the top and the weight off this window, it basically maps into the duration how long it takes to scroll from the bottom all the way to the top. So if I want to make it, uh, quicker quick scroll, I will decrease the length across this timeline, and now it will take shorter to scroll. But if I want to have it scroll slower, I will further expand it so that it takes more time toe travel from the start to the and and now if you play it now, it will take a longer time. So that's how we can hurt some scrawling titles. Lastly, we have these lower thirds on the left lower third middle lord heard and right lowered her and to explore them. Let me get rid off this scroll. So let's heard a lower third. And this is basically composed off to title the main title and subtitle Hook to each other . And if I select and go to the Inspector menu here, I can customize thes main title and the subtitle Joshua Free Times New Roman is fine Let's gente color toe this color and let's change the brightness a little bit. Increased the size Question the subtitle Ah, day trip color Did the brightness sighs? No. And of course, this is the left lower third, so it'll stay on the left if you want to bring it to the middle. We need to select this medium lord third option. And if you want to have it on the right, we need to make this right lower third option. So if I delete it and if I bring a right Lord heard, you will see that these titles are hooked to the right edge and weaken further. Go to the Inspector menu earned discussed device both thes title and the subtitle Change all these properties as before. And so all these lower thirds are exactly the same except for their orientation. This is a re enter to the left side, to the middle and to the right, so That's how you can add simple text, scrolling text and lower thirds to your videos ended when she resolved. I hope that was useful and I'll see you in the next lesson. Another thing that is kind of weird and doesn't make much sense is that we have radio options for the text and title and this sometimes confuses people. So let's go over that. So here is a title I have added. And if he select the title and go to the inspector panel here, you will see that there are two types, the text and the video. So let's go to the videotape and here we have, ah composite transform and cropping, so we'll go over composite in another lesson. But let's look at some off the other text effects. So first, let's try toe zoom this text with time. So for that I will ah, bring this play hard toe the start where we want to start zooming and you can see here under their transform. The first option is oum So these are the different key friends for different effects, and I want to zoom it with time. So I need a zooming give him so let me turn this zooming key frame on. This is the initial value for zoom at this point. And if I bring it to the and and here, if I increase the zoom value now, basically it would start zooming at this point. And at this point, the zooming value should be this. And this is assuming animation. So if I bring my play had here This is the initial value of zoom, and as time passes by, it starts zooming. So that's how we can implement assuming animation. And if you want to see the details off the key frame in timeline, what you can do is look for this particular I concert. This is the icon for key frame. And here you can see that on other clips there is no icon like this that we use give Friends have been applied only on this clip, not on the other clips. So if I click this here, another bar comes up. We're the details off the this particular key frame are mentioned. So this is basically showing that there is a transform give frame and particularly this is assuming key frame. And if I further click this arrow it shows me details that this is off transform kind. But more specifically, it's zooming in the X and Y direction with time. So these details basically tell work this particular key frame is doing. And I can further click this arrow to hide that this is the dark. We can move it around to change the properties off this particular key from So this gift from my controls apart the right off the clip where key frames have been applied. We just created a zooming animation, but let's also create a moving title animation on top off that. So let's say for this particular example, we want to start it from this particular position, and with time it should move to the right. So for that I will bring this player toe the start and, ah, we will make use off this position key frame, so I'll decrease this X value so that it's where we wanted to start and, ah, I will click this key frame. So now opposition key frame has bean generated. So what this key frame is going to tell the Vinci is that when this play head is at this particular point in time These are the position para meters this title must be at so at this particular time, this must be the location for this title. But the rest off the key frame has no other position key frame yet, so it's just going to stare at the same position unless we define more key frames. Now I bring this player toe the end off this title clip and ah changed the position toe, the destination point that I wanted to move toe. So that's what I wanted to move. So this particular position and because the key frame thing is still enabled, it's going to record the part I told it to follow. And if I bring this player toe the start and move it, you can see that it's bought. Zooming and moving see the zooming effect as well as the movement. And if I click on this key frame icon and click on this arrow as well, now it is telling me what it's doing. It is zooming in X and y direction, and it's also changing its position. So these are the different effects this key frame is implementing. But let's not mix the movement and zooming with each other. So what I can do is I can go to the video and ah, text is selected so I can reset this position value and now it will be just moving. It won't be assuming. See, as I move this play hard zooming value is North Indian but the position value is we can layer a couple more things on top off this moment. Let's say we wanted to move, but we wanted to disappear in the end. So in order to implement this disappearing effect, we can make use off this capacity, give frame. So maybe what we can do is when this play had is somewhere in the middle. Off this clip, we can turn on the opacity key frame. So right now it's opacity. Value is 100. So that means it's totally visible and we can bring this player to the end and reduce this capacity to zero. So congratulations, we just layered movement and capacity. And if I move this play heard it is moving and it's also gradually fading. Insert off, disappearing suddenly, And if we wanted to, we could have it start from a different white and moved to a different destination. point, and we could also make it last longer or shorter. So that's how these key friends work. And that's how we can exploit them to implement some very interesting effects on the text or titles and weaken further. Click on this black and white diamond to hide this key from menu. I hope you learn some useful techniques in this lesson, and I'll see you in the next lesson. Hi, and welcome to another lesson. Now let's try to create some interesting text effects using the composite Mort and composite means how one layer interacts with the overlapping layers. For this particular example, we have, ah, this title and we have this video clip and let's mix port off them. So what I do is I select this radio, bring it on top off the text, and if I bring my play head here, this completely hides the text or title underneath. Now what I can do is if I select this upper video clip and go to the inspector here in its composite, more right now, by default, it is set to normal. But if I select add now, the underlying title becomes visible. But let's take it to the next level. So instead off add as the composite more If I go ahead and select multiply. That's what you get. And if I move the play head, you can see that the video is shining through this particular text stencil. This basically creates ah, text, mosque and videos shining through that text mosque. This is an awesome text mosque that you can get using the composite Mort. That's it for this lesson. I'll see you in the next one. Hi. In this lesson, we will look at the overall interface off the deliver workspace. So let's say you are done with the selecting all the clips, putting them in a required sequence and applying all the edits. And now you're ready to deliver your project. So what you can do is go to the last workspace, which is the deliver workspace. So this is what it looks like and let me walk you through different sections off this workspace. So at the top, you have different genders settings you can render for YouTube in different resolutions you can render for women. You are you know, there are other render presets then these are the settings right now, we have the custom render settings selected. So in this section we can define what settings we want for our render. Then we have the clips that are going to be included in the render. So right now we have these three clips in our timeline, and all of them are included in the in the render sequence by default. And, ah, this is the preview. So I can preview any off these clips. And down here is the timeline with all the edits applied in the previous steps. Okay, so this is where all addicts can be seen. This is where you have all the clips there. Preview can be seen here. This is where you can define the render settings. And this is where after you are something toe the render queue. This is where you will see their job created, and this is the button to start rendering your project. So this is the overall layout for the deliver workspace. And in the next lesson, we will look at the actual render settings that we can use to deliver a project. So I'll see you in the next lesson. Hi. In the previous lesson, we looked at the overall interface off the deliver workspace. And now let's look at the actual render settings and rendered this sequence actually on the top. Here you have different render presets, but we don't want to go for any pretty fine pres Ertz. But we just want to go for a custom render so the custom option is selected and we can give it a file name. We can select a location where we want to save it so I can select it and choose desktop. And here we can render this sequence to individual clips. So right now I have three clips in my sequence so I can render each of these clips to their individual videos. Or I can just put everything into a single clip. Of course, we want toe put all off them, put all off them together into a single video. So I will pick this single clip option. Of course, we don't want an audio. We just want a video file Then for the video. Here are different options so we can choose different formats and before quick time tiff are any other former. But I'll go with quick time, then Kordic. We have different kinds off Codex so we can do it. His 0.264 Apple Pro rez So we can go with its 0.264 then resolution. You have different options. We can choose 7 20 p. Weaken Tuesday 10 80 p or even four K frame rate Any of these eyes. Fine, then quality. You can select automatic quality, or you can restrict it to a certain kilobyte per second rate. But automatic is fine for most purposes. Passes how many passes you need to go through. So single it's fine. Key frames. Automatic. That's OK, then. Advanced settings. This pixel aspect ratio mostly I would go with the scare one. So for most of these options, I think auto is fine and ah, there are no subtitles. So these are all the different settings we can choose or we can customize for the video. And lastly, we have this add to render queue button. So these are the clips that are going to be added to the render queue. So right now you see, there is no job in the cute nor render job is being processed. Are has bean put in the queue. But when we pressed this ad render queue. Now you can see that this job has been added to the render queue, Also showing the address where the render greedy would be saved. So I can press this button to start render so I can choose All right, the existing file. And here it shows the progress in person today, So 5% is done and one minute and 32 seconds remaining. So I'll just stop it there because I want to actually render it. So that's how you customize the render settings in DaVinci resolve. And that's how you actually render of video. I hope that was useful, and I will see you in the next lesson. - In this lesson, I will show you how toe put together the travel montage that you just saw in the previous lesson. So these are some short video clips I have provided in the course resources, and let's add them together to turn them into a sequence for that travel one touch. So first off, all I will never get to these clips on my computer and had all off them one through 14 to my media pool, and I'll say yes to that and I'll also go ahead. Toe heard some music. Yes, this is the music and ah, some pictures. So I think this picture and another picture off the Joshua Tree National Park and all of the's clips and pictures and the music is provided in the course resources. This is the media workspace. So now that we have added media toe the media pool, let's go to the edit workspace closed the effects library, go to the media pool and here you will see all the media that we just added. And you can see there right now these clips have bean shown randomly. So let's go to this button and sort them by their file names. And now they are in sequence. And also you can see that the timeline is empty yet. No, I will select all of these clips. First, add them to the timeline and you can see that the timeline is created with one order and one with you. Track and all of these clips are in sequence. 1234567 Hey, 89 10 11 12 13 14. And you can also see that this timeline terminal was also created when I placed them into the timeline. So let's double click that too. Rename this timeline, Let's see travel montage. And let's also go ahead to save this project as save project as and let's rename it Travel one touch safe. So now, later on, whenever I want to save it, I'll just press Command s on Matt Magal Burning System and Control s on Windows operating system to save it. So this is all the media that we're going to use. Bless. Ah, one picture at the start and one picture at the end. So let's ah, select us. This is the one I want to place at the start. So let's go to the concert option to insert it. In the beginning, this is the air in. So let's insert this one in the end, and now you can see that the length of our timeline firm from start to finish it is around one minute and 58 seconds. But we'll try to keep the final video under one minute, so we will need to do some trimming as well. No one side note here when you add media to the media pool and try to play it from the tap . Chances are that you might face some Laghi video playing here. Right? You see this? These frame words These are not staying at the same value, these air fluctuating. So what this means is that the media has not been optimized to play on your computer yet. So to fix that, what you can do is go to the top menu playback. There is an option called render cachet. And under that, by default, it is selected. Not so. What you need to do is you need to pick this option smart. And as soon as you do, you will see that a red line appears on top off your timeline. Okay, so it looks like this. And ah, initially all off, it would be red. Okay, So red means these portions have not bean optimized for play backyard. But some portions off this line were slowly start turning blue. As you can see, this has turned blue. So blue means it has been optimized to play back. But red means it hasn't bean optimized yet. So give it some time until all of this line turns blue from red. And when all off, it has turned blue. You can play and hopefully you won't see any legs anymore. Even if some portions are still read, you can play the portions which are blue, and those portions in those portions. You hopefully won't see any lacks. See, Right now, the frame rate stays the same at the full value. But as soon as it will start playing this region, you will see some legs here, See? So just let it sit there for a minute for a few minutes and hopefully all of that really turn blue very soon. Moreover, you will see that there are a lot off jump cuts at all these video transitions, see, So we will apply some video transitions to make these jump cards smoother. And also you will notice that some off these clips are a bit shaky because thes were just ah short without try parts. So there is some shakiness going on, so we'll fix them with stabilization in the end, off this lesson and before starting, let me give you the big picture off what we're going to do in this project. These clips are numbered from one through 14. You see it start from flip number one, and it goes all the way to clip number 14. So these clips were basically taken in the chronological order. That means the first Clippers apart start off the day at Joshua Tree National Park. Then the activities done there during the day in a sequence like photography, climbing, etcetera and the last few clips are about the day coming to an end with the sunset in the very last clip. We will put one picture off the park at the start and one picture at the end, and we'll also add some background music to that. And we will sink thes video transitions to the beat off the music and add some titles to that so that we can practice all the editing tools we have learned so far in this course and since we will be singing these video transitions to the beat off the music. So let's try to add some background music. Let's bring it up so that we can ah see this track and right now you can see that nowhere forms are showing up. So what I can do is I can go to the timeline view options and here turned this or do you? We're from on. And now you can see the way form for the background music. And you can also see that this line has all turned blue. See, I just give it a few minutes and all off that turn from red to blue. So now all off it has been optimized to play back and you can see that these clips have some audio. Also not any meaningful audio, but just some random sounds off camera clicking here and there. So basically, we don't want any sound from these clips. We just want the background music. So what I can do is I can right click on this track containing the audio for these clips and delete that track. So now the only audio we have is the background music. And now, if you see the length off, this music track is too much for our travel. Montagnards. What? I can do it. I will trim the extra portion off the music. So I was zoom in. So to zoom in and out off this timeline using your mouse wheel, what you can do is on Mac operating system. You can press option and move your most well are. If you're using windows, you can press all and move your most well. And in this way you can zoom in and out very easily. So I need to trim this portion off the music. And right now you can see that the selection moored is enabled. So I want to go to the blade, are resurrected more, and the shortcut is be so I can just either press this our press be on my keyboard and automatically it is enabled. And now I can just bring it to the top off to the alignment off the end off these video clips. And here I can press command be to insert a card command, be on Mac opening system or control beyond windows. You know, I can again go back to the selection more by pressing a click on this to selected and press delete to get off that. So now we have enough music toe cover the length off these video tracks, but also remember that right now it is around two meters and we will need to trim it toe under one minute, so we will need to out the unneeded portion off music again later on. So again you zoom in on the timeline. And here you see, these are the original length off all these video clips, and we will need to do some trimming on those as well. So let's start some adding, Now, remember that we need to do some trimming on these clips. So let's trim them a little bit from the edges, and later on, we can further fine tune that. So one way to trim these from the ages is using again the resurrected more, well, press B to enable this resurrected more. And let's try to trim these clips a little bit from the edges. So the first way is using the resurrected more, and I'll just bring it here. Press command beyond Mac or control beyond windows and inserted. Now I can press a for the selection more click it, and now I need to get rid off this portion. So what I can do is I can press Ah, delete on Mac operating system are backspace on windows and that portion has been deleted. But you will see that the cap is still there. Okay, So, by pressing the backspace on windows or delete on Mac operating system. You can just get it off the clip, the selected clip, but the gap would still be there. But if you want toe, delete the clip as well as the cap, what you can do is let me undo that to bring it back. And now I want to get it off this clip as well as this cap that will be created when it's called. So to do that, I'll selected and on Mac operating system, I can press, shift, delete or on Windows Press delete button, and you can see that dark clip is gone. And also it took away with it the cap that was to be created here. So no, the gap has already been taken. Care off. Now I will trim these clips toe parts. We need to tell the story, and later on I will further Tweety streams to sing them with the music so we can keep using the resonated. More inserts, Um, cards. Go to the selection. More breasts. Ah, shift delete on Mac operating system or simply delete button on the Windows operating system and the clip and the gaps are also gone. But another way to dream that could be with the selection more, and you can just bring your cursor to the edge off a clip until you see this kind of cursor , and now you can just drag it inside. But this results in a gap similarly, I can trim this from the edge. Dream that from the edge also, but you see that this is creating some gaps, so the way to get rid off those gaps is by pressing them. And now you can see that this cap has been selected and simply pressing delete button, and that gap would be removed. Similarly, Achon select this gap pressed the delete button, and that captures removed. But I think the best way to trim these and also take care off the result and gaps at the same time is using this dramatic board. So I select that let's try to trim these clips are using the trimmer more and ah, the way to do that again is to bring your cursor to the edge off the clip until you see this kind of cursor. And now when you trim those, everything will be sleeping with that so the gaps would be taken. Care off at the same time. So in this way I can trim those clips a little bit. This is not the final trimming. This is just to bring them within one minute and later on we're going toe sink these transitions to the beat off the music. So in this way, I can do dreaming on all these clips to make them shorter. And not only trimming will also need to pick the right portion off the original video that goes well with the pattern music and the team off our overall travel mont touch. So it looks like we're still at around one minutes and 22 seconds or so, but we'll take care off that as we go along. So again, let me go to the resurrected more by pressing b bring my cursor here, press control beyond Windows or command beyond Mac operating system To insert a split here , press a for the selection more selected and press delete, okay. And also, I can you can see if I played so right now, the music is kind of starting abruptly, and we can pick this north and move it inside to have some nice fade in effect for this music. So now I think this would be some nice fade in effect. Okay, That is better. No, I think I'm gonna stop right here to end this lesson and will continue working on this in the next lesson. 9. Trimming Clips to the Music: Hi. Welcome back and let's continue working on these clips. Now. I will trim the clips to the beat off this background music and I'll further increase the height off the audio track as we will be trimming toe the beat by looking at this fearful. So basically what we'll be doing is we'll be previewing this again and again. Looking for certain peaks are certain beats in this rare form where we need to bring these transitions. Okay, so let me catch it off the media pool because we're done adding media. So we'll be looking at program monitor. Basically, we will be previewing and looking at this were formed where beat is occurring and dreaming these clips to basically sink these edges with those beats and the music. So first of all, so the first beat is occuring here. So let's decrease the timing off this first picture so it starts. So let me also show you how to read this time court. This is basically hours, minutes, seconds and milliseconds. So this is zero miniter and zero seconds. And this first picture is starting from 00 and ending at four seconds and 23 milliseconds. Not exactly milliseconds per terrace, basically 24 units in a second and right now the first images ending at four minutes and 23 . Let's call them Ah, millisecond for no. But the first beat is occuring here. So let's try to and I will use the trimmer it more by pressing t so that I can also take care off the gaps simultaneously. So let's bring it down to sing with this beat. And if I played so basically, what I want to do is this is where the music is speaking up. So I want this to sink with the purse with this person taking step. So this is, I think, looking nice right where the beat occurs. This is where the person is taking this step. So there's a nice singing here. So where is this ending? It is ending at three seconds and one really second. So this is where it basically transitions into this first clip. And now here there is another beat a drink. Let's dream this part off the first clip clip one so that every time a beat occurs, we basically transition into the next clip. So using the trimmer it more I will trim this and also take care off the resultant gap at the same time. A little bit more trimming needed a little bit more. So this is basically a back and forth process a couple times to get the best match between the transition and the beach. Okay, this is fine. And where is it? Starting 301 ending at 505 And now let's look at where this clip to should end here. So I trim it further, a little less. I think I want this transition here. We're two speakers occuring here, right here. So I'll moved ahead a little bit. Okay, this is better. You can see that, right? We're this speak is occuring in the music. That is where we also transition from one clip to the other. And if I played back, I think a little bit more trimming would be better. Exactly. This is better. Then reassured the transition from clip three to clip for Occur here. So I think it should be somewhere here. So I will dream it to this point. Maybe a little bit more trimming here? Exactly. No. Let's look at where the next Bt's here. So I trim it further to bring this junction to this position a little less. Maybe. No, not this one. A little more. Played back and forth a couple times to get the best sing between video transition and the beat. A little less thistles. Good. Now let's look for the next beat somewhere here. A little bit more trimming needed. But I think there's another beat occurring here. A to this point, not much gap between these two little peaks, but I think if I trim it lesser so that to sync it with this next beat, let's see how it looks like a thief. I think this looks better, but let's just adjust it a little bit more. I think this is good enough. No, I think this process off. Sinking the beat off the music to the video transition is kind of repetitively. You have seen how I'm trimming the clips by looking at the way form and sinking the clip positions to the beat. So I'll fast forward this part in the interest off time. - Okay , I have dreamed all the clips to the beat off the music and it's all looking much better now , so here I go to the start and let's preview it, - Theo . So I think now it looks much carefully placed together because every time a beat new beach stars a new clip also transitions. So all further increased the length off this photographs. Right now, this is ending at 47 12. So let's extend it a further so that we last 48 seconds. So this is where exactly we have 48 seconds. Let's extend it a little bit. You know, we shrink thes clips a little bit, so we have the extra piece off music that we don't need. So again, I'll press the be to select the resurrected more. Bring it here. Press command, be to insert a cut on Mac operating system or control be on windows. Now, I can select a for the selection more. Select this unwanted music and press delete. And if I zoom in here, you will see a sign off a speed o meter. What does that mean? Actually, this is a picture, right? And ah, when we extend the duration off a picture or play around with the timing off any clip, you will see this kind off speedometer signed her eyes there, which basically gives a sign that some spirit adjustments have been made to that No further . What I want to do is I want this picture Toby zooming in. So right now, you see, this picture is kind of stagnant. So what I want to do is, as time passes by, I want this picture to resuming in a little bit. So to do that, what we need to do is insert a couple key frames. This is where the transition is happening. So let's start zooming and after this transition has settled down. So let's kind of insert one key from here and now to insert the gift for him on this particular element, I'll click it. Go to the Inspector. So I press this key frame icon to start give framing here. And right now the value of zoom is one. Let's say we want toe keep zooming in until this point, and here I'll press this gift from button again and let's increase its value to something like this. Okay, basically, this is where the zooming and stars this is where it ends, and in between it will zoom from a scale of 1 to 1.46 So let's see how it looks like. And right now it looks a little bit shaky. But when it has actually rendered and we look at the final photograph, it would look much smoother. Moreover, if we go back, there are some clips where we might need to do a little bit off speed adjustments. So let me turn down the volume. So right now we have, ah, the in point and out parts off. All these clips sink to the beat off the music. But we also need to do a little bit off adjustment to the actual content in those clips because you see these are smaller chunks off bigger videos. We can basically make some tweaks to the actual content in those clips because we can move them a little bit sideways to see which content from that actual video is better suited for that particular clip. But before that, let me adjust speed off a few off these clips like, let's say this one. If I go to the dramatic more selected here, you can see the quarter view and you can see where on the top left is basically again. The in point. This is the out point off this particular clip. This is the frame right before the start. Off this clip. And this is where you will see different right after the end off this clip. OK, so let's see what we have here. You see that there is not much going on this in this clip. It's just basically banning around with this. Ah, sunrise. What I want to do is I just want to have this around in the middle. I want much ban in this view. So what I can do is I will need to select a certain portion off this video where there is not much plan going on or I think a better way could be that maybe what if we make the speed off this clip slower. So for that I'll go to the selection more select this clip goto the right click menu and here you will see an option to change the clip speed. So press that and let's decrease the speed right now. This is at original speed, which is 100 person. So if I decrease it to 50% now, this will play at half off its original speed. So changed that. And now let's see how much movement we have again. If I go to the trim it more and maybe select some clip that there is not much movement happening, I think here we formed that. So this is fine. The sun rises fairly kept around in the centre, off the picture. So I like that. And as soon as I adjusted the speed, you can see that this speed of meter icon starts appearing on this clip. Then I think there is another clip where we need to adjust the speed to free play this clip , you see that he is moving kinda slow for the beat off the music. So in this particular clip, what I want to do is I want to increase the speed at which he is walking. So for that, what I can do is go to the selection more, go to the right click menu and change its clip speed. And this time we want to increase the speed compared to the original speed. So this is originally 100%. Let's make it 200% so that he moves faster. And if I played now again, you see the speed of me Try con. This is a little fast. So again I'll go to the chain Cliff Speed and let's decrease it to 1 50 maybe, or 1 60 And let's see how it looks like and maybe changed the content off this with you as well. I think this would be a nice starting point, and I liked the ending quite as well. So let's preview that. Okay, this looks fine. So in this way I have adjusted the speed off some of these clips. And now let's also further tweaked the content off each of these clips. And remember, we have already are just earthy length office clip. We just need to tweak the in and out points a little bit so that we can get the best portion from the original radio to go with the team off this video. So I am in the trim it'd moored. Let's look at the content off the first video, and let's change it to where he is taking the step. Let's see where it looked like. This is better, Then look at the content off the second clip. I want toe end, where we can clearly see the screenshot on the camera itself. So let's see what it looks like. There's a little bit off shakiness at the end of this portion, so maybe I would move it here. Okay, this is fine. Then we can play around with the content off the third clip. And I think there was a little bit off shakiness at the end off this clip as well. So I like the first portion off this clip. Okay, Maybe a little bit to the left. No, here. We adjusted the speed already, so this is fine. Now, we can just take content of okay, since there is some rumor going on here, Some camera panning. So I want for this clip to have a camera settled down towards the end of this clip. So because there is not too much movement on both sides off this edge, So right now this is looking good. This is a long clip. So let's see if we like this portion. Too much sun in this clip. So I will maybe move it a little bit back. Still, I like this portion. Were camera spanning around. Okay, this is fine. Next we have Let's make it a little bit faster, so go to the selection moored. Go to the change clips speed and let's increase it to 1 30 That's fine. I want to basically include more portion from this clip. So let's go to the trim it more. I want this clip toe end where he is on the top of this bigger rock. So and now he looks back to the photographer here. It's kind of blurry where it is ending. So I don't want toe end here. Here. Be better. Okay, this is looking good. We have already adjusted the speed off this the content is also fine. Then we can go ahead to eat the content in the 10th clip. Within this split, I want some zooming to occur so that resume into the person taking these pictures. So I want this zooming to start at this point and and at this point so that we're not interfering with these video transitions on the edges. So at this particular position, where I want to start zooming, I will turn on the position key frame and zooming key frame bought. Why? Because if we just zoom in, will be zooming into the center. But I also want to adjust the position so that we're zooming into this person. So this is where it starts. And this is very true, Aaron. And here I need toe set my final values for zoom and position. So let's increased assume toe a position to a value off to maybe and accordingly. We'll need to adjust the positions in X and y so it would be negative, Rex. But we need to stay away from the edge as well. So this is fine. Then we need to increase the Y value. This is good. And now if I go to the start plate, you can see that there is some nice zooming effect going on. So this is good. Now we can further continue playing around with the content off these clips. - I think this should be perfect. So this is good, because we're banning only in one direction and we end up with sunset exactly in the center towards the end of this clip. So this is what I wanted. So with that, if I zoom out, we're basically done with the trimming off all these clips and choosing the in and out points to sink them with the beat off the music. And also we have made some speed adjustments to some of these clips. So let's end this lesson right here. And let's continue working on this travel montage in the next lesson. All right, so now we're ready to add some titles to our project. So let's go to the beginning and and let's add some titles. So to add title, I will go to effects library. Under the tool walks, you will have an option for titles and under titles, you will see a lot of different options. So the one I want to choose this text, So click it and bring it to the timeline. So right now, by default, it is around five seconds long. So what I want to write in this title is if I select it and go to Inspector, I want to write Joshua Tree, change its color to this greenish shared, maybe increase the size and let's see where it is. Let me go ahead and change the opacity off the image underneath so that we can have this text more prominent so you can still going to see this image underneath. But now the text is standing out. So this is good. And I could further tweak the color off this text. Jean, uh, tracking are the spacing between characters and weaken further changed the position. Okay, the Y position. We want to have it toe higher position and maybe decrease the size a little bit and changed the tracking. So there it looks nicer and further decreased. The A pass ity off the image underneath so that it kind of stands out. We can also make it bold if needed. And then we can add some more text. But Venice, it starting it is starting at just six milliseconds. So I want some gap between the start off the clip and the start off this text. So let me move it off a little bit ahead in the timeline and let's started exactly at one second. So this is where it starts. Maybe we can further decrease the capacity off the image to have it stand out more. And I want to add one more title. But before that, where is it ending its ending at six seconds. So I want this title to stay on top of this clip because this is kind of dark. So this title is standing out here and if I played is looking good and right here, it would end. Let's add one more title toe that that says National Park and both off these titles should end at the same time. But the second title, which says National Park. It would start a little bit later after this one has ended, so we will add some nice animation to that as well later on. So change it's formed to Ariel. Also, let's change its cutter do yellowish with the lesser glow increase tracking. Change its position in why decreased the Why position. I'll increase it to bring it closer to the upper title. Let's also try to move this upper title a little bit lower so that they're close to each other. There you go. So this is the title ending At five minutes around five minutes or six minutes. We can also add some drop shadow to the lower title, and we can also add some animations to these titles. Okay, so if you select this title and goto video transitions, there are many transitions you can choose from, but ah, kind off like this trying left and triangle, right? So if I bring it and drop it on top of this and ah, oneness with trying left and let's choose the triangle right for the other title. And now if you played this animation kind off ends before the guy starts walking in the background. So this is looking really nice, but it kind off ends abruptly. So what if we wanted toe vanish or disappear slowly We can apply some give frame toe that in terms off it's ah capacity. So you see, we can start our decreasing do capacity at this particular point. So if I select this lower our title, go to the video options and turn on the capacity key frame. Similarly, I select this one and also turn on its capacity key frame. So here the capacity is 100%. And at this point, I want this capacity for both off these to go to zero. So turn on key from here as well reduced this a passage to zero, select this go to the video options and also turned on the key frame for this one and decrease its capacity at zero. So what will happen is that within this time frame it will have full capacity. But at this point where the first key free markers, that's where the opacity will start decreasing and it will start becoming transparent more and more until at this point where capacity is reduced to zero and transparency is basically increased 200%. So this would be a nice disappearing effect with time. So if I played yes, there we go. Next, we can apply another title in the end. Somewhere here, we want to start the ending title and it'll last till the end. I can go to the titles rink text known here change its duration toe sink with the end off the video. Actually, I'll turn off on the snapping so that I can snap it to the end off the timeline, and now I can actually go ahead and modify it. So let's type something like, uh, thanks for watching Ariel make it bold. Decrease the size, increase the tracking. And right now it is lying in this center. Change the color again, and maybe we can go ahead and decrease the opacity off this picture in the background so that the title pops out. So maybe a little bit bigger size for this text would be better. And we can add some background so it's worth and its height. So by default you won't be able to see this background box until you increase thes height and width values, but capacity decrease it. And actually we can change its position with time. Okay, so we can maybe start out of her view. And ah, it basically slowly rises to the middle off this frame so we can insert some position key frame in this position. And then let's say it slowly rises to the middle off this frame. So let's apply this second key from here, where it would basically come to this particular position. Insert Ah, another key frame. But right now, both these key frames have exact same position. So I'll go back and change this Y position to something negative so that it is not in our view. And now, when I played, let's further change the location off the second key frame so that the speed is a little slower. So the background picture is zooming in and this is kind of moving from the bottom to the middle off this frame and we can have it keep going to the top. Just we will need to change its location changes position for the second key frame toe something at the top. It is out off the view, so it will look like a scrawling title. At this point, I think it would be nice to have some fade out for this music because right now, if you see the music stops abruptly So I will grab this not and move it inside so that we have some fade out effect for this music. So if I played no still, I think we can play around with this fade out and instead off linear fretting out we can have it decreased in occurred freshen Northey actual music control Z to undo that. And I congrats this little dot here, and I can move it to implement a nonlinear, kind off decay for this song level. So if I played again No, I think the fading out effect is much better. So now that we have added titles to the start and to the end, let's actually have a look at them. Okay, this is looking good. That's the ending title and, ah, both her looking nice. So let's end it here for now. And let's continue working on that in the next lesson. 10. Transitions and Rendering: all right, welcome back. And now you're ready to insert some video transitions and try finalizing what we have done so far. So I will zoom in to the first picture, and if I played, you see that there is no fading in effect. Only the titles have some animations. But I also want some fading in happening for this image. So I can just grab this not at the beginning, and move it in this basically implements of fared in from black. So you can see it start from black, and it nicely fades in to this picture. It's as simple as they're just moving this notch inside. Similarly, at this transition, I want this image to also fade out to black before moving on for the next image. So you see, this clip also starts in the dark, so I think it's nice to have ah fade out to black for this first image and let me turn off the snapping. Now you can clearly see the fading in effect in the start and fading out if it in the end and then nicely transitioning to the next clip. So that was the transition for the first image Similarly, we can apply. Some fade out for the last image, and it's as simple as just grabbing this not and moving it in words. You can see that basically as one. As this title settles down to its final position, the background and the stars fading out, so animations have been implemented for these pictures. Now let's apply some transitions to the video clips. You see. This is quite a hard edge or hard transition, so let's try to replace it with something more gradual. So I'll go to the video transitions, and there are many nice transitions here. Some are a little bit flashy, but some are pretty nice also. So these are the dissolve type transitions, then these are the iris motion, shared drive and many others. But I personally like these dissolve transitions. So first, let's bring this dissolved transition and drop it here and you can see that this is pretty nice. But this is taking quite a long time, so let's try to squeeze it. And now, if you preview it, this is nice. We can use a variety off these transitions, so let's ah, for the next one, I think blurred this all would be good, so it basically blurs before transitioning to the next clip. Pretty nice. Then for the next one, we can apply maybe additive resolve these transitions. I can basically put them. If I selected and deleted. I can place it on the end off one clip or to start off the next lip are at their junction. But I like this. Ah, transition right at the junction itself creates a better effect. This one. I don't think it will look nice, so dip to color dissolved. Let's try that or even we can replace it with Blurred is over. I think it's a preview It this is good non editor dissolve. Then another Blurred is all. So in this way I can replace all these hard junctions with some nice transitions. And I will fast forward this part because there's not much learning going on here. You have already seen how I am deciding with junctions. Get which kind of transition so I'll fast forward this part. So I'm done with replacing all these hard edges at these junctions with some nice we do transitions. And most off these. I used these different types off the dissolve kind of transition and let's have ah, a short preview to see what it looks like here. Okay, that's looking good. And, ah, I think there is some camera shakiness going on in some of the clips, so we will need to do some stabilization, like you see, So we will need to add some stabilization. So for that, I will need to zoom into the timeline and ah, we will go to the color tab where we have the stabilization tool. And here you see, there is an option window, and right next to that, there is a drop down menu and there is a stabilizer option here. So let me choose this stabilizer option. Let's apply stabilization to all of these shorts. So first I will select one off these short, PRESTA stabilized button, and it will basically analyze how much shakiness or how much movement camera is going through. And, ah, based on that, it creates a map. So first it analyzes the clip and it comes up with a map showing how much movement off camera this short is going through. And then it tries to compensate for that. Then I can select the 2nd 1 Prestes stabilize option. It is analyzing it. So I'm just running a simple stabilization algorithm on all of these shorts. I'm not doing any complicated tweaking off stabilization variable. Just doing normal analysis off these clips and the default stabilizer for DaVinci without using any streaking off the variables. And you can see that here. There's a lot of camera movement towards the end off the clip, but here in this clip, there is not much camera movement going on. So by looking at house exact, these lines look like you can tell how much movement off camera there is in this clip. And no, if I play one of these sharks, so you will see that much off the camera movement have been has been compensated by using the default stabilizer. And ah, I think that is good enough for this particular combination. Off clips. Let's play it so you can see that initially, there was a lot of movement in this camera, but ah, much of that has been compensated. All right, so I have applied stabilization to all these clips, and ah, you can tell that by looking at this yellow icon at the bottom off each clip So this basically shows that the stabilisation has been done to that clip. You see, this was just an image of no stabilization has been done. So hands no yellow, I can hear. But under all the video icons, I applied reduced civilizations under all the video clips, you can see these yellow icons. Similarly, if you go to the edit workspace just by looking at the timeline, we can tell for the most part what major effects have been applied to them. So first of all, you see this speed O meter icon shows that the speed has been adjusted for this clip for this image, we have adjusted its speed so that it's lasting for 67 seconds. Then we're you know, these three clips. There are some speed adjustments going on with them and with this one as well. Similarly, whenever there are some key friends applied to a clip, he will see this kind off diamond icon. And if you click that you can further look at the details off this clip. If you zoom in, you can look at where exactly the key frames are being applied and what kind off different . So this is a transform key from that means there was some zooming and happening. So that is how you can tell by looking at the timeline to see what kind off effects have been applied to different clips. So let's have a final look to see whether every effect we wanted has been applied or not. So you can see there is some Ah, fair didn't apply to the music. I could I could further decrease this fading to change it from a linear fade in tow a non in your failing by moving this point downwards. Similarly, we have a similar kind off fared out happening at the end. Then these images are fading out. There is no fear didn't required here there is fading in and fighting are being applied to this image. Some animations have already been applied to the starting tighter than the ending title. Then all the junctions, the hard junctions have been replaced with transitions. So all the effects that we wanted, whether there were audio effects or video efforts, all of them have been applied. And now we're good to go to the deliver top or delivery workspace. So this is the deliver workspace where you see all our clips starting from the first clip all the way to the 16th clip. All of them. Our position in sequence with the tracking applied to all the video clips. Then there is our timeline with all the and it's already applied to each of these clips. Here is the preview. If we want toe, look at the preview again and ah, this is the render jobs Right now. There are no jobs in Q because we haven't added any job to this. Q. Okay, so let's see, what kind of options do we have in terms off rendering? So on the talk, there are some presets, like if you want to publish it to YouTube or Remune, etcetera. But we just want to give it a custom location because we just want to save it on the computer. So I will give it to you address off my desktop, then, uh, here It can produce individual videos or individual video clip from each off these video clips, but we just want to render to a single clip. So, of course we want video, and here are some export options, so the format quick time is fine. Kordic. Apple progress for 22 sq. That is fine. Similarly, the resolution I would like 1920 by 10. 80 istea. Okay, so 1920 by 10. 80 S T and frame rate is okay. 20 people 976 No need to go to advanced settings or subtitle settings. There are no subtitles. With these settings, we can add this job to the render cues. Right now, this is empty. But when I press it, you can see this job is added here and now with these settings, I can press this button to start rendering it so it starts rendering. And here is the progress. There is only one job, and right now it has been processed 1% 8 point for two minutes remaining. So I will fast forward this part. All right, so the video has been rendered and here is the final radio. This is 46 seconds, and it's around one gigabyte. So you can look at this, travel Montag's closely and try to emulate whatever we did in that and that will give you a chance to practice all the editing tools we have learned in this course. So that's it. And I hope you enjoyed the scores and learn many useful editing techniques. Thanks for watching. Hi there. Welcome to another section off the scores. And now let's have some fun. So in this lesson, we're going to learn how to do green screen compositing with DaVinci Resort, and this method is going to work. Rather, you're using the version 12.5 14 ar 15. The only difference is that for the later versions, the tools have gone better and better and more accurate. And actually, this is one of my favorite things to do in DaVinci results. So let's get into it. So here we have a video off a dog in front, off a green screen. But you can have anything happening in front of the green screen, and we're going to learn how to give it a custom background. So here is the actual footage off the dog, and let's see how well we can get rid off this green background, and we will do that in the color works best using notes. So this will also give you some further information about the working off these notes. But first of all, we need to bring our footage and the background picture into timeline. So this is the footage off the dog, and this is one background, and I'm just going to have fun with this video. So I'm going to use to different backgrounds one by one. So this is one background. I will bring it toe the timeline, and then this is another background placed back to back and on top. I will bring this video, and this is a pretty long video. So let's choose an appropriate portion off this video where there is some movement going on . So I will cut it here using command, be on a Mac or control beyond Windows to lead the unwanted portion. And let's also cutters here using Come on, be again, delete the unwanted portion here and bring it here. So here are these background pictures and videos sitting on the top and here. Keep in mind that the background picture or video needs to be in the bottom layer and stack the green screen footage on the top. That way, when we get rid off the green color in the four wrong layer and make it transparent that way, when we get rid off the green color in the four wrong layer and make it transparent. The background layer can shine through. If you're raised these layers the other way round, it is not going to work. So do keep that in mind. So basically what we're going to do is we're going to make these green areas transparent and under this footage lies our background picture. So when this green area and the footage becomes transparent, we can see the background in this. So that is worth the green Screening is about. And since we're going to do that in the color workspace, so let's go to the color workspace. And here you see, there is one north already here. Now we need to tell them when she resolved that we need some transparency. So to do that right click in this area and click this art off output and this is going to add this blue little dark in this region in the open region. Now this is the Alfa Channel, and we can connect it to the Alfa output. So now we can go ahead with the green screening. I will zoom out on this picture by pressing command minus on Mac or control minus on windows. Now there are two ways to do green screening. One is toe. Use this Ah ssl you situation and luminant to create a mask by clicking in this green area to pick the full range off thes green colors. So if you have a very violent background like this one where you have just a single shared off green color, that is going to be easier to use. But in this one, we have slightly different shades off green. You see, here it is lighter. Here it is kind of darker here we have textures and so on. So in this situation, I would actually prefer to instead off using SSL out proper going toe the three d qualifier . And now we have to draw lines in this green area to tell them when she resolved that thesis , Green regions, we want to get it off. So I will pick this and ah, no, you can draw lines. And just to make sure that there is not much movement going on in this footage, Okay, so there is just a little bit off movement going on here, but otherwise the dog is pretty Stationery. Now you can see that. Ah, here in this north, the DaVinci is always actually getting rid off the dog. It is keeping the green areas. And this is exactly opposite off what we are looking for If you want to get it off the green areas and we want to keep the dog. So to invert this selection, I will press this button called involved. Okay, So when I pressed that you see that the selection has bean inverted here and now, for the most part, it has been taken. Care off. Just some minor adjustments are needed. But also you see that there is some green area here on DA. I could draw a few additional lines in this area so I can go back for a moment and ah, I can zoom in by pressing command, plus our control plus on windows and ah, here. If I assume toe different position in the footage here, I need to draw some lines in this region to further refine our selection. And if I inverted here, you see that some off these portions off his mouth are also being removed, and we need to make sure that there's no effect on the dog. Okay, so we can go toe minus sign and draw some lines here to tell them and she that these areas are not to be removed. Okay? And you see them Bet right away. Just don't worry about how bad these lines air looking, but this is just to make a good selection. Don't worry about these lines in this area also. So now we seem to have a pretty good selection with no portions off the dog being affected with that. Now, it seems to be pretty good now. Also, we need to work a little bit on the edges because otherwise are green. Screening would look pretty horrible. You know, here we have a couple options to further fix these edges. And one off these tools is card D spill. And this is an excellent to you can see its impact right away. Now we can further zoom in using command plus or control plus on windows to look at the edges and see what else needs to be fixed. And here you see that we really need to do some work on the edges. If I zoom out a little bit ban and maybe move around the footage a little bit to see what's going on here and to fix these edges. We have some variables here under Mart finishing, and we can play around with them to really make these edges look nice. So the first off these variables is de noise. And if I zoom in, you can see that on these edges. That is a lot of noise. So to get it off this noise, we can use this variable de noise. So if I increase it, you can see its effect on the ideas right away. We don't want to increase it too much. Otherwise, it looks very blurry on the edges. So just a little bit. Were you get rid off the noise. And here these are the variables that you have to play around with a little bit to get the best reserves for the edges and also not already is our same. So if one variable is working for one video, it might not work for another video. So you have to do some hit and trial to see what works and what what doesn't. Then we have Ah, let me also zoom out and then we have these variables clean, black and clean white, so we can play around with that. And even if you don't know what the Israelis are actually doing, feel free to, ah, play around with them if they make any posit differences to the edges. And if not, you can always go and research them. Okay, Clean white. Okay, so this seems to be making it better. Not too much. Otherwise it will start creating Ah hallow kind of thing on the edges. So this is too much. Maybe we need to decrease it, Maybe it on somewhere here. Then we have blurry, hideous, and we can increase it to have some blurring effect on the edges, but don't increase it too much. Otherwise it will start cutting off on the edges. So this is looking good. Then the last one is in and out ratio. So this will basically pull the edges inwards or pushed them outwards to make it look better. So just play around with these values until you have some really nice and clean edges. Let me zoom out to see what we have here so we can fit it and also to get it off these lines. I can turn these tools off. So if I press command f to make it full screen, this is what we have achieved so far. This is looking pretty neat and clean and natural at the same time. And I can further tweaked these values make Ah, it's zoom in. So let's increase the d noise value clean white. I can further increase it blurring. This is quite a bit off blurring going on, so let's decrease it a little bit. This looks about right, and in adultery show for their Aiken. Change it. I think this looks good. Press Kamara f to make it full screen. This is what we have. And if I played ready, needing clean adages and looking very natural. So that's the basics off doing green screening with the when she resorts. I hope you enjoyed this lesson and found it useful. So thanks for watching and I'll catch you later. Bye. 11. Overview of the Color Workspace: Hi. Welcome to this section where we will be learning how to do the color correction and grading off your shorts So we will explore the power off resolve when it comes to coloring the videos. Also, this is the latest version off when she resolved, which is DaVinci Resolve version 15. If you're using a different version, the Interferes might look slightly different, but any side difference would be just in the interface. The working is exactly the same. So this is how the color workspace in the when she resolve looks like. And here we can do all the work related to coloring. And frankly, it may seem daunting at first, but it's actually quite straightforward and really fun to use once you get used to it. So first off, all we need to add some clips in orderto work on them. So if I go to the media pool in the color workspace, you can see that there are no clips added yet. So in order to do that, I will go to the media workspace. Never get to my clips that I want to color, grade or color, correct, then select them and drop them to the media pool. So again, if to last for the frame rate, I will say change and it's added to the media pool. Now I can go to the at it workspace and here I have toe pick both off. These are any number off cliffs that you're going to work on and drop them to the timeline . Only then can we work on those clips in the color workspace. So now if I go to the color workspace, you can see that these clips have been added to the media pool and now we can work on them so I can turn off the media pool. And now you can see here this area is basically T program monitor, which will give you the preview off how your final video would look like after color correction and credit at the top. We have ah, different tops like we can see our gallery. There's nothing in that right now. The lots are look up tables, media pool to see the footage and clips and the timeline to see your clips and scrapped for them. And all of these stabs are basically toggle, but and so I can turn off their timeline by pressing it again, I can turn off the media pool by pressing it and all of the's are off. If I want to turn any of these on, I just need to press it once more. And it will be on and on the right. We have this Ah, tab for clips. So if I turn it on, it shows the clips, all the clips I have, but it will reduce the size off your preview. So if I don't want to look at the clips right now, I can just turn them on, turn them off to have a bigger preview. Then we have this thing called North that will be exploring later in the section. And if I turn it on, this is how it looks like and it will again reduce the size off your preview. But if I don't want to look at the North Seiken, turn them off to have a bigger preview, then we have open effects, and in the end we have the light box that will show you all your shorts. So from all these times you can turn off the taps that you don't need, and that will really sized the preview window and that will slightly change the interface. For example, this is how it would look like when all these tabs are off. If I turn on the timeline, it will bring a timeline under the preview and that will actually reduce the size off the preview. This is how it would look like when everything is off. If I again turned on the North, it will reduce the size off the preview. And if I turn north and timeline both off them on, this is how it would look like so for beginners. I think here it would be a good idea to pull this lesson right now and play around with turning on and off these stabs and see how the size off, different windows and the look off your overall interface changes. So there you can become comfortable with the environment, and down here in this area, we have these color wheels, and there are more tool for coloring above these color wheels and below these color wheels , so we'll be using them a lot later in the course. Then on the right, we have this window and the look off this window basically depends on which off these three buttons are selected. So let's start with this I This is for information, and it basically shows the information about the frame rate or resolution off your selected clip. Then the next one is scopes and that these schools are extremely important when it comes to color correction and color grading. And we'll be using them a lot throughout this process. And there are actually four different types off scopes, and you can pick any off them from this drop down menu. So we have parade. We have reform director scope and his to Graham. So later in the course, we will see what each off them does and how we can use them to effectively color, correct and great. And the last one is G frames. This is to work with key frames for color adjustment. Here you can animate different things and set G frames on different parts off your clips. These G friends work exactly like in most other applications, so that's the interface off the color workspace and DaVinci Resort. I know it might be a little overwhelming for beginners, but don't worry, you will get used to it by the end off the course. Thanks for watching. Hi and welcome. In this lesson, we will learn the working off color wheels and all the tools in this region. So here in the color wheels, we have, ah, lift gamma and gain. Think off them as shadows, me tones and highlights in the color world. This is the terminology that for use so in all off these color wheels, the default position off this little circle is going to be in the exact center off the wheel and weaken. Drag it towards either off these colors, the first real is for left, and it is basically related to the darker parts or shadows in the image. So you see the default position off This little circle is in the center, so right now this really is neutral, and if I click here and drag it towards the red color, it basically pushes the red color in the shadows. Although the remaining portions off the image are in the were form, there also affected, but mostly it affects the shadows. And if I want to reset it to its original value, there's a little arrow on top off each off. These well, so I can press it. And that way I can reset it to its original value. The next wheel is for gamma, and with that we can basically introduce specific colors into the mid tones. Then we have the gain. Well, which is related to the highlights, are the brighter parts off the image. So if I pull it towards the red, I'm pulling towards the blue color, he will see that the blue color is pushed into the highlights. And here you can also see that the brighter parts become bluish, especially this sky. Without this, this was pretty flat. But by increasing the blue color, it basically pushes more blue into the highlights, especially the sky and the other parts off the image are not affected that much. I reset that. So, uh, thes three veals thes basically affect different portions off. The image left is related to shadows. Cameras related to the mid tones. Gain is related to the highlights, but then we have the fourth wheel, which is for the offset. So this will affect the whole image equally. And if I make it red, you will see that all parts become reddish unlike if I or the lift Well towards red. It will have a different effect compared to if I did start in the offset. Really? So these wheels give you a lot off options to control the look off your clips. If you change, devalue off one off these wheels and you want to research that you can just click the reset button on top off that particular well. But if you made a lot of changes and you just want to research all of them in one click, then on the top there is this global reset button. And, for example, let me do a couple of changes here, and you can see that I can reset all off these changes by pressing this global research pardon. So to summarize all off that these color wheels affect the U and situation off the shadows for this, we'll meet owns for this wheel and high lives for this well, and then the overall image for this last offset really, the direction off dragging off this little circle is used to pick a particular you. For example, I can drag it towards the red and red color is selected after that color is picked, the more we pull it away from the center, they hired the situation level for that particular area off the image. Then under each off these wheels, you will see a slight reveal, so these wheels affect the brightness or luminosity for the respected part off the image. So this change is luminosity for shadows. This does that for the mid tones. This is that for the highlights, and this slider does that for the overall image. So turning this wheel around it's like increasing the values off red, green and blue channels equally unlike moving around this point, which changes them unequally. So by clicking on this wheel and dragging it towards the right increases deep brightness for the shadows and moving it doors, the left decreases the brightness. The values off red, green and blue generals are shown under each off the wheels so I can move the lifts lighter to the left side to make the shadows darker. And that way I can increase the contrast. So if you play around with them for a little bit, you can get the hang off them. Another cool thing is that above the Gainesville there is across here with a wide point next to that. And if you click that, you can pick your white point in the image so you can click on a color that you want to appear white. For example, let's say I want to click on this cap, which, although isn't really white, but just for the sake off this example. Let me click here, and it will adjust the brightness you and situation off that color to white, and it will adjust everything else in the image accordingly. Now this is a little bit too much, so I will just, ah, reset that and let's go to another clip. And here we have this white color. So let's do that again. I'll click here and now bring my cursor over these white circles. Click here in digital er, just the U saturation and brightness toe. Have this color look pure white, similarly above the left wheel. You will see another cross here with the black dot next to that, if you look very carefully so I can click it, and now I have to click somewhere in the image where I want the color to appear black. I can click here and you will see that not this is pure black and everything has been adjusted in terms off you situation and brightness so that it looks pure white. But do keep in mind that such automatic adjustments are not always create, as you can see here. But the good thing is you can use them as a starting point to make further adjustments in order to give a particular look to your clip. So I will reset that. And now let's look at the different types off color reads we have. So basically there are three sets off color veals intervention years old. This is the first set and this is called prime reveals. Okay. And if you look closely, there are three doors here, so the 1st 1 is highlighted and that shows prime reveals If I click on the next start, it has primary bars and ah, then the last one is locks. OK, so these are the three different sorts off wheels, and I can also access them using this drop down menu. So these air primary wheels, their primary bars and then we have locks. So the 1st 2 types put off them have the world primary in them so collectively begin called in primaries, and the working off prime revealed in primary bars is exactly the same, except for their different user interface. So this is how primary weeds look like, and this is how primary bars look like off course. These are not wheels. This is just a difference in their interface. They're working is exactly the same as we will see shortly. So the benefit off primary bars is that for each off the portions, whether it's left gamma, gin or officer here, we can play around with the red, green and blue channels in each off the portions individually. Unlike in primary wheels, where we have lesser control over changing individual colors, laws are total different in terms off their working compared to board off the primaries. So now let's look at each off these sets off wheels one by one, so the first set off wheels is called primary wheels, and these affect a bigger portion off the way form and are not very specific about which portions received the effects being applied. For example, if I apply a color effect on the highlights, it will of course affect the highlights. But some off. That effect will also go to the mid tones as well as to the shadows area. So to illustrate that, let me look at the other clip. It is kind of dark, and here I think it would be easier to explain the working off these primary wheels if I increase its offset. So here you can see that this where form has ah gathered the top through of the were form and we can fill this gap by adjusting the game bacon. Ah, use this lighter wheel in Dechaine. So by clicking it with my mouse and dragging it to the right, you can see that the way form is spreading because I'm increasing its cane, although this should affect the highlight in a stronger way. But it is also having some effect in the mid tones as well as in the shadows area. If I do it again, you see that it is a very strong effect in the highlight where it's a fact should go. But it also has some effect in the mid tones as well as in the shadows. Then, if I make some adjustments to the gamma well, this should have a direct impact on the mittens, but as you see, it also affects the highlights as well as the shallows. So the effect off each of these wheels is not only restricted to their intended target regions, but it also spreads to the surrounding regions. So the gamma not only affect the mittens, but it also has some effect going towards the highlights as well as to the shadows. Similarly, if I decrease the left, you see that it has a stronger impact on the shadows. But it also has some effect going toe the meat knowns as well as even to the highlights. So you can see that all these reels these not only affect their intended reasons but also have their effect extending to the syringe strongly regions as well. Then, lastly, we have the officer real, and by changing that it doesn't affect a certain region. It effects all off the region's equally unlike all these other weeds. So by increasing it, I can shift my whole way from upwards and by decreasing it, I can shifted downwards. So these are the primary wheels, and these work in bigger strokes and affect a larger portion off the way from as we just saw. The next set is the primary bars. The primary bars are identical to color wheels just represented a bit differently, and sometimes it becomes easier, depending on what it is that you're trying to do. So in order to illustrate the working off these primary bars, let's assume for a moment that we had a short that we were working on, and it has a lot off green in that. So let me in the primary wheels. Let me pull Gamma towards very dark green color and do keep in mind disposition off this camera. No, uh, we can pull up the screen color in the primary, parse. So in the gamma section, I can pull down the green. And now if I go to the primary wheels, you can see that. Remember the original position off this camera will waas here, but it has basically pulled away from the green color, and it is shifted mortar worsted, magenta. So now if I go to the primary bars and research the gamma, you will see that it also research in the primary reels. So this clarifies that the prime reveals in primary bars put off them work together, and whatever we do in one reflects in the other, let's do one more example to further clarify this point. So right now, you see that in the gamma section all these red, green and blue channels these have their values close to zero. Now, if I go to the primary wheels and if I increase the value off gamma, you will see that the values in the red, green and blue channels all off them increase equally. But if I reset it and now, if I tilt it more towards the red color, same thing happens in D bars, read general Increases in value and the other channels adjust accordingly. I hope that's clear so I can reset that. And the last set is the log reels, and these were their more specific. For example, if you change make tones, it will affect Justin Mittens, and it will have very little to no effect on the surrounding regions, and you can use these two values. Hell are a large for Lawrence and H R H R is for hiring, so you can use these Lawrence and high range values to define if the effect extends into the neighbouring regions or not. So to illustrate this point, let me just go to primary wheels for a little bit and let me extend this way form so that I can explain my point more clearly. So let's say this is the way form you're working with. So now if I changed the values off shadows, you see that it is only affecting the bottom off the way from our shadows. As a change this value, you will see that the shadows are decreasing and eventually this start clipping. Right now you see the value off this low range is 0.333 Now I can further control that. How much the turning off this will affect thes shadows. I can further control that by changing this value off all orange. So if I decrease it, let's it toe 0.15 and now I turn this wheel. Now it will affect even a smaller portion off the shadows. You can see that only a very small portion off the shadows is shifting as I turned this week. See, similarly, if I want to have a much bigger impact on the shadows by turning this well, I can make this increase it to a higher value and now just a little bit off. Turning off this well would have a bigger impact on the shadows. And still you see that this is very specific to shadows. It is not affecting mid tones or highlights at all. All it is affecting is the shadows, and I can further control how much off the shadows are being affected. And if I further reduce it to zero, turning this wheel does not have any effect on the shadows. So this definitely gives us more control toe affect particular portions off the way, forming a more precise way. Similarly, I can make changes toe only the highlights by turning this week. And now you see that as I turned this will, only the highlights are being affected and the mid tones and shadows they don't have any effect at all. And even for the highlights, I can be very specific about how much off the highlights are affected. So right now, the higher range is 0.55 So it is affecting a bigger portion off the highlights. I can make it even bigger by decreasing this higher range and no, it starts even affecting the mid owns as well. But I can make this higher range closer to one, and it will start having lesser and lesser effect on the highlights. You see, the effect has decreased. If I increase it more, no, the effect would be even smaller for their increase it. And now the effect would be negligible. It is now barely affecting the highlight. And when it is exactly one, it stops affecting even the highlights. So by changing this high range value, I can adjust even the tiniest parts off the way from. So with log wheels, you can be very specific about fine tuning things and rear the adjustments take place. So that's how these color wheels work. Now I'll go ahead and research all off them. Then, under these color wheels, we have a few more controls. So you see this number one and two. So if you press one, this is the menu and it has a few different controls. And if you press to this brings up a few more controls. How do you change these values? You just click on one off these values, click here, then hold it. And now, if you drag your most towards the right, the value increases if you drag it towards the left. Devalue decreases. Okay? And if you just want to reset it, you just double click on dick text level and that research it to the original or default value. So now let's look at each of these controls. The 1st 1 is contrast. This basically pulls everything apart and make sure image more contrasting. So this is the original way form, and you can see that it is not taking the entire vertical space. So as I hold it and drag it to the right, the contrast increases. It basically bulls this way from apart. So the highlights are pulled upwards and shatters airport downwards so that it takes more vertical space. You can also look at the image, and now it has become much more contrast year, although that's kind of an overkill for just giving you the idea. Now, if I want to reset that, just double click it. The next one is spirit, and with this perimeter at the default value, stretching will occur evenly on both sides. Right now it is at the default value. So if I increase or decrease the contrast. You will see that this will basically stretch evenly around the center. You see, it is stretching around the center. If I increase the period value, let's say I make it 0.5. Let me make it 0.6. So there's more off center. So now where is this? Ah, favorite point occuring 0.0.597 or 0.6 approximately. This is lying around somewhere here. Okay, Along this way form. So with this spirit value, if I increase the contrast, the way form will stretch around this value. So if I now increase the contrast, you see that it basically stretching around this value. So although there's not much portion off the way form of all about this so stretching, it basically is pulling almost all the way from downwards. Let me just reset it and let me now for for a moment let me make this spirit point 0.3 and see what difference it makes or let me make it point toe. So point to is somewhere here. If I now increase the contrast now this area off the way form will be kind of stationary. And above that and below that it would be uneven stretching. So this is stretching. This is squeezing, and if you look closely all off that stretching are squeezing and happening around the spirit point. So again, with the spirit point at the default value, the stretching would be even on both sides. But when you change it away from its default value now, the street would be uneven, and the new period point will be the middle point around which stretching would occur. Let me research both off these. The next perimeter is saturation, and it is kind of self explanatory if I increase it that entries is the situation in the image. If I decrease it that d secular, it's it. So you can see in the were form that when I d saturated, all the red, green and blue colors perfectly overlap, and this results in a black and white image. But as they increase it, you will see that red, green and blue colors start shifting away from each other. And that is where you start seeing the different colors. The higher the value off situation, the more you see the color shifting from each other and the more saturated the image looks . The next perimeter is you. So by increasing or decreasing it weaken, give specific use to our image. The last option is you Momix, but don't really worry about that because it's a bit more advanced for this course. So that was Menu one. And then there is menu to with a few more options, so the first option is temperature, and if I increase it to a positive value, I can make my image look warmer. And if I decrease it to a negative value, it appears cooler. So with that, I can adjust the temperature off my image. Then the next tool is dent, and with this, you can shift colors up or down to give specific things to your image. From green all the way to magenta. The next one is MD. Were M D stands for meat on detail. So this is going to add contrast to your mid tones, and you can have them look sharper, are blurrier. Then the next one is CB were C V stands for color boost, and it saturates everything by giving it a color boost. The next tool is called shadows, and this is off course toward just shadows. So if your videos to bright, you can adjust it to pull down the shadows. And the last tool is called H l were actually is for highlights. So just like shadows, we can also play around with this to adjust our highlights. And with these tools, we can have our image look more balanced so that it's not really clear p on the upper or lower side, so I can go ahead and research all off them. And one more important thing is that some of these options will change depending on whether you are looking at the primaries are logs. So, for example, here in the logs, you have this option for low range and hiring. Okay, so this option for low range in high range only appears under log reels. If I goto prime reveals our primary bars, you won't see this lower injure high range option under either menu one or two. So just keep this in mind that some off these options might be different, depending on which kind of wheels you're looking at. So these are mainly the tools we have for color adjustment, and I hope now you have a good understanding off how each of them works out further encourage you to play around with them to become more familiar and comfortable with them. Thanks for watching. 12. Introduction to Scopes: before going through any coloring tools. First, we should understand how to read color information in video clips using scopes. And that's crucial because we can color, correct or great a video well only if we know how to analyze the colors already present in the video. Understanding the scopes now will also help to understand the function off the remaining color tools we're going to look at in this section. I would argue that scopes are one off the most powerful tools in the winch resort, and to work with colors, we really need to understand them. So in order to look at scopes, you can just right click on the preview window, and here there would be an option for shore scopes. And when you click that four schools come up and we have parade were form director scope and history, Graham are another way to look at. Scopes is you can just click on this draft like icon when you press that it brings a one school patter time. So right now it is showing where form. But if you want to look at the other kinds off scopes, here are all the options we have. Parade we have reform, we have Dr Scope, we have hissed a gram. And if you want to change settings off these scopes, this is the settings button where you can go and change the brightness off. The were form itself the scale, then other settings, and even you can look at only one of thes like red, green, blue or combination off. Any two of these are all three by default. All three are nipples, and if you hit this arrow, you can see all of them at once. And maybe you can put them on a separate monitor if you want to, so that you can see that information while you're grating. So now let's look at each of these scopes closely and by default, this button would be enabled. So don't panic if you don't see any reforms because by default this key frame panel would be enabled. So in order to look at the scopes, you have tow press this button and can change to any off the schools by picking this option . First, let's look a two way form, and then we can look at the parade and dream anyone because I think that would make more sense. So the wear form it basically shows all the color information in this craft or were from. As you know, all images lie between perfect black and perfect white. So the bottom or zero off this way form represents perfect black and 10 do tree are the top of this Reform represents perfect white and all the image information should lie between these limits. So let me just ah, Brighton this reform a little bit more so the left side off the image corresponds to the left side, off the way form, and the right side corresponds to the right side here. However, the wire excess off the reform does not map to the hide off the image. It rather shows brightness so you can consider it a graph off horizontal position off pictures on the AC sex is worse is their brightness. On the Y axis, the shadows would lie towards the bottom off this way form the highlights would like towards the top, and mid tones would be somewhere in the middle. So now let's try to interpret this image with the help off. This way form a little bit. So as you can see starting from this edge all the way. Toe this portion here the images pretty flat. And there's not much variation going on vertically. OK, so here is the sky all the way from this position to this position. Similarly, these feels so there's not a lot of variation from here to here and same is the case with the reform from here, all the way until somewhere here and after that she occurs. And that is where she has some bright colors in her claws and then the skin tones. And because off that there's some fluctuation in the graph and after that, starting from this point onwards until this point the images again pretty flat. And after that the only difference on this side is there are some shadows because of this tree and that is fair. The brightness level drops a little bit. Okay. And then ah, in this portion as well as in this portion, there is blue sky which correlates to this blue line this portion off the blue and corresponds to this side. This portion corresponds to this blue line. Similarly, if I go to a different clip and if I expanded by adjusting thes color with a little bit. Who's working? I'll explain in the next lesson. Here you can see again. There is a blue sky all the way from the left to the right, and you can see here continues blue line in the highlight. Why's it in highlights? Because this is relatively deep writer part off the image and then over all the images, pretty Fred, except for this region where there is a black backpack and that is where you see that this little portion, this little horizontal portion off the image that is where the brightness level is a little up. And then as soon as the black backpack starts all the way to this point, and then because of the blue at this darker shirt and the darker here and the camera, that is where the brightness level drops a little bit for the oral limit, and then again, it starts to be pretty study. So if I change the offset a little bit, I can shift this way from up or down so I can play around with this too expanded So ideally , the whole way form should fit in between the bottom and the top. However, that's mostly North Case and fixing that is the main objective off the color correction face. So here you can see that the original clip was a little bit dark. But by using these color wheels, I can improve the exposure as well as the saturation off the colors and we can use this were form to see specific parts off the image that you're adjusting and make sure things aren't clipping. So I'll go ahead and research all of the's the next one after the way form is parade. But instead off having the red, green and blue generals all superimposed on each other like in this way form. Here you have these three channels side by side. So you have read clean and blue placed side by side, and the information is all the same here in the were form. You see that there was a little spike happening in all these red, green and blue channels, and same is the case with burried. This is the spike in the red, green and blue. OK, so as you can see, these are horizontally squeezed a little bit because originally there was just a single way form in this whole horizontal position, but now we have to fit three off them. So these are a little bit squeezed in order to fit three graphs in the same horizontal portion. But the information is all the same. And here you can see that the highlight this flat portion in the blucher is a little bit higher than in the rest. Why? Because off this blue sky. So the next kind off scope is vector scope, and this is set up to see all the different colors you have. Red, magenta, blue, cyan, green, yellow. If it's a little bit too bright, I can just go to the settings and make it less brighter and play around with the other settings so you can think off it as a big version off one off thes color veals and this rector school maps all off the pixels in the image. You can also consider it like a circular kind off graph the direction off different colors on the vector scope is same as on all these color of it's like on the right side you have blue, blue, blue blue here, similarly, on the right side here you have blue at the top you have read. Same is the case with vector scope. Similarly, here in the bottom left, you have the green color in all the wheels and same is the case with after school. So the direction off colors rather on these reels are on the rector. Scope is all the same, and the extend off the spread from the middle means saturation. So here in this direction it is spread out a little bit more, so that means red color is more saturated in this image. Same goes for yellow color. So if this is extending mawr in a certain direction, that wins that colors, particularly such Richard. Now, depending on the color adjustments you're using on your image, you will see the vector scope pushing out in specific directions. If I make everything red, let's say director scope will also start pulling out towards red direction. Now just look at the vector scope. What happens to that? If I start pulling it towards the blue direction, he will see that the director school also start adjusting itself in orderto pull it towards that direction. And if I start pulling it towards green, you will see that it realigns itself. So this is a more saturated green color, so you will see it is pushing out a little bit more in degree in direction. But if I make it less saturated, it will start squeezing away from the green color. So again, if an image is more saturated in a particular color than director scope would be pulling out more towards start color. And if I start decreasing the saturation, it will start pulling away from that color more towards the center. So to sum it up, it's spread from the center is saturation and direction is you, so I'll go ahead and reset that. And finally, we have the history Graham, which is also quite easy to understand and helps to see how well exposed your images, although it may look a bit similar to wear, form and parade. But don't get confused, because history Graham is totally different. His telegram is basically a craft with XX is for brightness or exposure, so start from darkness or low exposure on the left side all the way to very high brightness or exposure on the right side and why Exes basically represents the Modoff data under different brightness levels So let's look at a couple scenarios. So let me decrease the again. And here you see, the video is pretty dark or under exposed. So in history, Graham, you will see that it is more aligned towards the left side. Which means a lot off data is lying on the darker side off the graph. Because, remember, this is the darker side. This is the brighter side. So you can see not much data are virtually zero dark eyes lying on the brighter side. But there is a lot of data lying on the darker side off the spectrum. Now let me just make it bright and see what happens to the history. Graham. As I make it brighter, you will see that the history Graham stars shifting towards the right side. And if I keep it increasing, the images too bright are over exposed. And you see that a lot off information or a lot off start eyes lying more towards the brighter side and very little or on almost zero dark eyes lying on the darker side. So, just by looking at the history Graham, you can see that the images are exposed and let's also consider another scenario. So let's say there is too much contrast like here. So darks are red to dark, and brights are way too bright. So here, you see, these are the shadows, and these are a little too dark and you can't even see them clearly. So this corresponds to this side. You can see that in all these channels red, green and blue. You have lot off data very close to zero. That means, Theo, The shadows are way too dark, like here and here. You can't even see the details. Similarly, on the brighter side, you have a lot off data sitting in all these channels. So you can see in the red, green and blue generals, you have a lot off data which is represented by these spikes around this 100 mark. Highlights are way too bright. You can see the sky. You can't see any details in that. And in the middle you have virtually zero or very little data Here. You see, this is very close to zero. Duma's data in the darkness and Duma start are in the brightness and very little dark line between. So that is an indication that the contrast is too much. So these kind off very contrasting images basically show you ship or a similar kind of graph in his stroke. Graham. And this is an indication that the contrast is too high and we need to blanket down. Ideally, though, we want color information starting from the left where the shadows are all the way to the right, preferably in a bell ship that way are blacks will look black and white to look white so we can play around with these color wheels in order to balance the exposure and spread the history cramp more evenly. So, for example, first off, all, I would increase the left decreased again. And now you see more off my dad. Eyes shifted towards the middle, not on any off these extremes. And now the image starts looking a lot better now, how to use the scopes to your advantage. Well, just by looking at these scopes, you can get a lot off information about words going on in your image. So, for example, here you see that the history Graham looks quite balanced. But if I go to the other clip, which is this one just by looking at these Ah, scopes. Clearly you can see that the images under exposed because in rare form, you can see that this is not touching. Depart. Um, neither does it touched top. So here there is lot off gap at the top and at the bottom and weaken basically spread it apart. So if I close this and look at the were form so if I bring down the lift, it basically starts touching zero. Which means that there is stuff that is approaching black and it pulls the whole image towards shadows. If I bring it below zero here, you can see that some information is missing because it is going beyond zero. And this part, the shadows are clipping because if you look at it, you can't see much off the detail. So we have to make sure that no portion off this fear for miss clipping That means that all off it is above zero. Because if it goes below zero, then we start losing some information. Similarly, if I increase gain, I can maybe have it expanded and it starts approaching the top, which is perfect white. And if I keep increasing it, you will see that it starts clipping on the positive side because some portion off this fair form is going beyond 10 to 3. So we can't even see that. And this corresponds to losing some information in the highlights, like in the sky and in other bright portions. Off the image you see there, some detail can't be seen because it is being clipped. So it's part off the color correction phase tow. Avoid clipping rather on the partum are on the top. So in order to get it off the clipping, I have to increase the left so that all this fair form is just touching zero. Similarly, Aiken, decrease the cane so that I can recover the lost portion at the top and now you can see that none off it is clipping whether on the top are on the bottom. Similarly, if I look at director scope here, you can see that the image is not very saturated because it is more restricted towards the center and ah, here. You see, there is a saturation button, so if I decrease it, you will see that it further starts squeezing towards zero, and it becomes black and white. So there is no situation in the image as well as in the director scope. But if I increase situation, you see that its direction is north changing. It's just expanding in that particular direction, and the saturation also starts increasing in the image itself. The more increase it, the more it extends away from the center and the more the image saturates. So that is kind of how we can play around with these actress square with the scopes and use them to our advantage. And here I have been doing a lot of stuff with these color wheels, and I'll be explaining the working off all these color wheels. And all these buttons are all this car controls in the next few lessons. And ah, I'll go ahead and research all off these color changes. So while adjusting colors in videos, you can't always trust your eyes, especially when you do that for long piers off time. But scopes will never let you down, and you will find yourself using these scopes most off the time. Once you get a little bit used to them. 13. Introduction to Nodes: hi and welcome to this lesson, and now we're going to learn about North's Most video editing applications use layers for color effects, but the venture is always unique in that respect because it uses something called North instead off layers. Many people find the concept off north very confusing, but I personally think it's a very simple concept. You may call it filters in a box because each north is like a box which receives the video from the left side, apply some color effects on it and outputs it from the right side. So here I am in the DaVinci Resolve color workspace, and we're going to focus on North. So let me try to minimize everything else that we don't need now further reduced the size off the preview to just focus on notes. So let me try to explain the basic workflow off north in Dementia Resort. So basically it all flows from the left side all the way to the right side on the left, and we have the original video as the input shown by the screen dot Then color efforts are applied on it through a single or multiple north and on the right side. We get the final output, which is to be rendered and is shown with the screen dot Along the way. Video passes through each Nord and effects are applied on it in steps so we can select a north. Apply color effects using these tools at the bottom, and those effects will be saved inside that note. Now, if we had another note here and we selected that and applied some more color adjustments, those adjustment will be saved in the new note. Now let's play around with the North a little bit. So this is the North that comes by default. If I selected and I go to the color wheels, I can make a few adjustments and see what happens. So right now, the colors are pretty weird in this picture, so I can turn on my reform to see what's going on, and I can increase the keen have introduced the offset streak. Ah, gam a little bit and right away you see, the image looks much better. So right now we have only one north, and that is also selected. So whatever changes I made here, all of them are being served in that note. And the cool thing is that not only this frame is optimized, but I can scrub through and you can see the whole radio has bean optimized. If I want to see how much difference this North is making to the original radio, I can toggle it on and off using table short Curt Command D for MAC operating system and control de for Windows, which is also supplied in the list of keyboard shortcuts in the beginning. So using command B or controlled the you can turn it on and often see worse the difference . And further you can just click on this number and by clicking it again and again, you can turn it on and off. So right now, this is just one clip. If I goto the clips panel here, you see, there are many other clips, but none off them have been adjusted yet. So you will see there is a number above each clip. 54321 and only one has this circular pattern around it. So this is a visual signal that colors have been adjusted in that clip, and we still need to do that for the rest off the clips. Each off the clips comes with its own set off north, which by default is one. But we can ADM or Nords to each clip if we need to. Right now, this panel is showing the Nords for this particular clip. Unify selected Different clip. Now it's north are being shown here, and if I make any changes to this particular North, those will go to that particular clip. So, for example, let me increase D gain a lot for this clip and you will see that only dark clip is being affected. I can further total de Nord on, and often you can see the difference being made only toe the arc particular clip. And now this icon has also appeared on top of this image because it has been adjusted to. If you want to reset all the color adjustments for a particular clip, you can just select it right click in this area. And here there is an option for research all grades and Nords for that particular clip, and you see it is research and dart Icon is gone. Similarly, I can reset it for the first clip as well. So that's how North can be used to color, correct and prayed multiple clips in DaVinci Resolve. Welcome back. And now we're going to talk about a very important type off North's called Siri Lords. So right now, by default, we only have a single north and we can add a serial north to dart in different ways. The first way is go to the top menu color north and then add cereal Nord. And this adds the second Nord. I can undo that. The second way to Addis here, nor to this north, is option. As for Mac or art, as for Windows and ah again, undo that to look at the third mattered, which is to right click on the existing Nord add Nor and on the top. Here we have two options. The 1st 1 is add cereal. So this are the seal north after the current north, and this are the Seal Nord. Before that, let's go with this first option, and no, what happens is it will process the first nor then process the second North. So whatever changes it keeps on adding those changes one by one like layers. Now let's apply some effects to these north, so I will select the first Nord, go to the color wheels, and let's move this gamma well towards really, really blue color. So I will further rename this. And by the way, you can add labels to each off thes Nords just to remember what they're doing. So add the label and let's call it view. So the first North is adding a bluish filter to the original radio. Now I can select the second North and apply another effect to that which is saturation. So right now it is 50 but I'll reduce it to zero now. What's happening is the first North is making it blue. The second north is removing all the colors from that, and the end result is that at the output we have a totally black and white video. Different Nords are adding different effects. I could have mixed these effects into a single note, but using multiple nords, I can keep them separate so that I can control them individually and see their effect. Now I can talk with each of these north individually by selecting it and pressing command G or controlled the Oregon toggle, both of them togather using the shortcut option D or all T. Now, keep in mind that the sequence off north is also very important. Same North can provide different effects if we change their secrets. For example, let's see what happens when we reversed the order off these norms. So in order to do that, I can select each off these links and delete them. Grab these, Nords, and put them in the rewards order. And now I can reconnect them again and see what happens. So we have connected these north in the reverse order and the output is different. The first Nord removes all the initial colors. This with your heart and nor to ours blue color to that. So in the end, the only color we have in the video is blue. I hope this short exercise gave you some insight into the working and flew off north from left side to right side. Thank you for watching Hello and welcome. No, we will learn about parallel north and they're working as these Nords are very important for color correction and grading. So in the previous lessons, we have already seen serial Nords where effects are applied in a sequential order. So after one effect is applied in a node that is sent to the next North for another effect , then maybe to another north for a different effect and so on but parallel north are different from that. So let me try to illustrate that with the help off an example. So here we have this video clip and I can select this north. And now I can turn our shifted scullers whether towards the red or maybe towards the green . And you can see that when I turn it green, everything turns green. OK? Similarly, if I turn it blue, everything, almost everything would turn bluish. If I make it red, everything would turn red. OK, now let's say I want to control some off these colors independently from this note, for example, let's say I want to keep the, you know, color off this flower independent from what our were what our changes we are making inside this note. So for that purpose, we can use a parallel north. So in orderto use apartment Lord off course, first we have to add that so to add a parallel nor to this north I will right click on this Nord and go to this option are north and are parallel. So here you can see. This is how a parallel north looks like basically these. These are the two parallel north. And after that there is something called Ah, parallel mixer. So the way it will work is this The same import is sent to both off thes north. So basically, both these north are getting the exact same information at the same time. And these inform these pieces off information can be processed. You know, different effects can be applied. So the same video in two different north and later on both these, you know, videos after their effects applied on them. These can be sent to this parallel mixer, which combines them, and it sends them to the output. Okay, so that is how this flow chart works. Now, what happens if I select this north and selected colors off this flower and maybe turn it reddish or something? So there is a tool for that. And don't worry about what this tool does and how we're going to use it. Actually, we're going to have ah, you know, a big section on qualifier, so don't worry about it. we will look at it later. But for now I'm just going to select the colors off this flower using this tool. And here you can see that inside this note I can see my selection. And of course, some of these colors I don't want. So I will subtract those. And right now I have a pretty good selection off this. These colors inside this flower. And now let me turn the turn these colors into a different color. So let me make this flower really red. If I come back to this Nord and shift these colors just like I was doing them previously, where everything was being affected. Now see what happens. Let me turn them. Really, really green. Look what happens to the flower. The colors in the flower are almost totally independent off the changes everywhere else. OK, it stays red while everything else has turned green. Similarly, Aiken, turn everything else bluish and it is still remaining unjust. Okay, so the reason for this effect is because we're using the parallel Nord. So this information, basically this the color off this flower this north is receiving from the import and processing it as red making it read and sending it to the output. So no matter what we do in this nor the color off, this flower is independent from these changes because it is being processed in this north and it is being sent from this nor to the output, irrespective off what happens to this north. Okay, so this is one off the main uses for parallel Nords that we can apply effects on videos independently from each other and parallel north can be used in many other ways, as we will explore in the upcoming lessons and sections. So for now, I'll just go ahead and reset everything that we did here. So that was a brief description about working off the parallel north. And thanks for watching. I'll see you in the next lesson. Hello and welcome. In this lesson, we're going to learn how to combine north into a compound while working on large projects where you have large number off north. It is very important to stay organized and keep your Lord editor simple and concise. More or after you have gone to a different stages off color, correction and grading, you may want to maybe lock those nor from any accidental changes are mystics. So that is where compound Nords come in handy. Soto illustrate the working off the compound. Nords, let me do a basic color correction on this clip. So in order to do this color correction, because you can see that the colors in this clip are pretty weird right now. So if I add a CDL Nord by, you know, right clicking, add Nord and add cereal or deco Arthuis Shorter for that is our s our option as on a Mac. So here's this first year north and let me, ah increased the highlight or gain in that. Let me add one more Nord cereal north and let me at just the shadows in that And let's inform or nord toe adjust the midrange in the mid tones. So this was a pretty rough color correction. And don't worry about what I just did. I'm going to explain the process off color correction in detail in a pretty soon, but for now, this is just for the illustration off compound north. So we have done a rough color correction on this clip, and as you can see, the colors look a lot better now. So basically a correction is done. Now I want to save these whole color correction Nords as a single unit so as to stay organized and maybe locked them from unwanted genius. So what I can do is all the north that I want to combine. I can select them and right click. And here in the bottom, there is this option. Create compound Nord and see what happens if I click this All those three north are replaced with this single compound north and as it says in the title it is a compound or and you can also tell from its border is this border is different from the border off a normal nude And I can further go ahead and rename this nor just to show what it does. So if I click this Nord label, I can call it color correction. So that is how I can save the Nords. That basically there d color correction and I can combine them as a single unit. Now, later on, let's say if you want to make any changes to that color correction and you want to make any tweaks, So for that purpose, you can right click on this compound Nord and pick this option show compound note. So these are the three north that make up that compound north and here I can select each of them and make any tweaks. For example, here this was for the highlights So I can just the highlights Further, I can make tweaks to the mid tones, for example, and once I'm happy with all the changes, I can exit this view by right clicking and exit compound note. So I'm back to the view off the compound Nord More or just like any other north. We can also apply some color color effects or visual effects on top off the compound north itself. Okay, so that will nor change the Nords. Inside that compound Nord, for example, I can select this compound Nord I can increase the contrast. So now this increase, in contrast, resides on top off this compound north and it has nothing to do with the Nords itself. However, do keep in mind that later on, if for some reason you want to get it off the compound north and want to go back to the original north inside that the effects on the north itself will be removed when this compound Nord is gone. So for example, I can right click on this compound Nord to delete it. And if I pick this option, decompose compound Nord, see what happens. We're back to the original view off the three north that were making up the color correction. But you can see that Deacon trust that be added on top off that compound, Nord is already gone, so the original color correction is unaffected. But D contrast is no more So That's how we can use compound lords for better organization and a better workflow. Thank you and I'll see you in the next lesson. The next tool. We have this card RTB mixer and with this we can change the outputs off the red, green and blue channels independently. So if you look at all of the's out ports, each outward has the red, green and blue colors in it. But the difference is that red output as a higher level for red for green, our port. It has a higher level off green and same for the plu are put. So if I increased the levels off red, green and blue our ports. This essentially saturates the whole image. And if you want to be saturated, this image, there are two options. Either we can just click this monochrome option, and this will de saturate the image are converted to black and white. Or instead of doing that, we can just decrease all these color levels. And that will make this black and white or make it de saturated completely. And we can further play around with these individual out ports to have different kinds of artistic. For facts like this one are this one, so you can get different kinds off effects by playing around with these monochrome are, ah, the individual color levels to have different kinds of effects, so that is RGB mixer. The next tool is called motion effects, and inside that there are options for noise removal like temporal noise removal, special noise removal and motion blur. However, these functions are not supported by the free version off results. You have to have the paid version to be able to use them, but I think in most cases you would really need these functionalities unless you are doing some very specific work related to motion effects The next tool we have is the next tool we have is called curves. And this is also very interesting and very powerful feature. So here you have your standard curve, just like an adobe premiere pro after effects or for a shop. So if you have done work in any off those Softwares, you should be very familiar with this car off. So in this lesson will be applying some visual effects to this video. And for that, let me create a new Lord by pressing option S. And there's a serial lord option. As for Mac operating system are art s for windows and now any visual effects I apply, those would be applied to this note because this is selected, and in this way we can turn it on and often see how much difference the effect is making to the clip. So as for a skirt, they're concerned. Here you have six starts, and each of these darts represents a different type off kerf. So all of these girls do kind of the same thing, but in their own different ways. So there is a plethora of things you can do with these cars. You can adjust individual colors. You can map one color to another, make colors brighter or more saturated in very selective ways, etcetera. So let's play around with them and also let me bring up this rare form so that you can see any changes happening. Toe the careful. So this slanted line is basically the standard curve, and we can also call the custom cough. So it's higher point shows. The highlights and lower point corresponds to the shadows, and we can manipulate the clip using this girl so I can grab this highlighter highlight point and move it down and it basically reduces the brightness. As you can see, the clip is becoming less bright and similarly, you can see the highlights moving down, so this basically compresses the reform. Similarly, I can grab this point and move it up. So this dick eso This basically increases the brightness off shadows and you can see that the shadows have moved up in the were form as well, and the shadows are more bright now and ah, the curve is more squeezed and similarly with the reform so moving these points up or down basically is having the same effect as genuine begin in the color reads. So all the color information in this clip is carried by this line, and we can are just individual colors in addition to playing around with a cane. So, for example, this lower part represents shadows. So right now you can see there are only two points on this line. But by clicking anywhere on this line, I can create an additional point and let's a quick here and one additional point is created and now I can drag it down and this basically pulls more information to words shadows, and you can see that the shadows have become darker in the image. Similarly, as I move it down, you can see that more information is being pulled. The world's shadows anywhere from we can give it more contrast by clicking here somewhere in the upper portion off the line and bulling more information towards highlights. And you can see the changes happening in the clip as well as in the were form that the highlights become brighter and they become higher in this way from so this basically changes that straight line into a classic S curve, which represents more contrast in the actual clip, so you will see a lot of people whenever they want to add more contrast to the image. They will just make this skirt a classic s curve, and this basically spreads things apart. It basically are, takes the highlight and shadows and increases their caps or highlights are brighter. Shadows are darker, and this results in a more contrast year with you. Now, if I want to get rid off any off these points, I can just rightly condemn and those points are gone. And here you can also notice that I played around with this curve and you can see this red dot appears above the curved tool, which means that out off all these effects, the Kurds have been registered so far. So if I apply any other effect, a little red dot would also appear on those to give a visual signals that which effects have been applied to this particular clip. Also, if I just want to ah, reset any of these curves, there's a circular arrow I can click and that research that curve and you can see that the red dot has bean removed, just as an indication that no changes have been made to the curb part. It has been research, but so far, whatever changes we have made to this curve, those have bean applied to divide curve which is basically a combination off red, green and blue. But the other thing we can do is we can play around with these individual red, green and blue channels. So here you see, red, green and blue, all of them are enabled. Why? Because this link button is enabled. So whatever changes I make toe this curve, those air applied toe all off these channels equally. But by pressing this pardon and disabling it now I can make changes to the individual red, green and blue channels. So, for example, I can select this red general and what I can do is I Congrats this red point in the highlights and move it down and you see, the red color is our de saturated or its brightness has been decreased. So, for example, I can pick this red point in the highlight and move it down, and it basically reduces red in this clip. And as you can see in the reform as I move it up or down the Redway form decreases with this point moving down and as a result you can see that when read decreases the blue increases because thes happened on the opposite side off the color wheel. So decreasing the red reserves in more blue in highlights and you can see it turns more bluish. So right now I'm just selecting Begin off the Red Channel. But I can just move it back. And I can also make an s curve out off this red general. And this basically adds a contrast in different curve without affecting anything in the creen and brooch. And also in this way we can play around with different colors in visually. But this is only when you want to just the individual channels. But I don't want to do that right now, So I will just right click on these points and get it off them origin. I could just research them and link them back again. So that was the first curve, which is the custom car. And let's move on to the next one, which is you. Worse is you. This is how it looks like. And as the name suggests, with this curve, you can pickle you and replace it with another you. So for this example, let's change the you off this blue dress and replace it with a different you. So if I click it, you can see that by automatically These three points come up, which basically represents the range off these blue colors so I can grab this point, move it up or down to change the you off that blue color. So in this way we can pick a color and replace it with a totally different color. And the great thing is, I can decrease or increase the color range by moving these points around and in darkly. I can be more specific, are less specific about a particular color. So if I make this wider, it will start affecting the neighboring colors. But if I make it narrower, I can be very, very specific. But the drawback is that if I make it very, very narrow now, some portions are affected more than the other. Like you see here this part off the dress stairs green, and here it turns yellowish brown or something, so I can move it back. And now I can affect all off this dress equally so to look at the effect this ah girl is making to the clip. I can just toggle this Ah, north honor off by clicking on this number again and again. So this is the original clip and this is with the fact with without and you can see the difference. So let me reset that. And with this tool, you can do a lot of interesting things. So that was your says you. The next one is yours a saturation. And as the name suggests, with this dude, you can pick certain colors within the image and situate them more or less. So again, let's pick this blue color in her top for this example as well. And ah, color ranges selected and I can move it up to make it more situated or move it down to make it less saturated. And you can see that the dress which was originally blue Now it has been decided related, and it looks like and I can further move this play hard and you can see that even with the corrector moving, the color changes stay intact, which is awesome. So this is with this effect applied and this is without it, so you can see the difference. And here is another perfect example. I could pick this sky and you can see that the color range selected is pretty close to the color range for this originally blue dress. Because both off these are blue. So this is lesser, less saturated blue. But that was more saturated, So they happened to be quite close to each other. And now I can make the sky Let's situated less like her dress or make it more saturate er to make it a bit contrast year. So here this is with artists north and here this is with dinner. So the dress is becoming less saturated and the skies becoming more saturated. And of course I can make them both de saturated. So this is the dour and this is with this effect, and we could also choose to make them bought saturated. And here this is without this effect applied. And this is with the effect applied so you can see the increased saturation in this blue in her top and in the sky. So in this way, we can make things pop out a little bit more and By the way, we can talk about this north on or off just by clicking on this number again and again, or by pressing command D on a Mac or control the on windows. Then we go ahead and research that and the next one in the list is you. Worse is luminous. So this girl changes luminant or brightness off a specific color. So, for example, let me pick this red color in her top. So for that, let me we'll be back. So when I click this red with my eye dropper, it automatically select a range for me. So by grabbing this point and moving it up, the red color becomes brighter and by moving it down it becomes darker. And even if I move the players, you can see that the effects stays intact. This is with the effect applied, and this is without it and you can see the difference. And the great thing is that you can see it is only affecting that red color. Not a single thing in this way form or in this clip is being affected. And that is the great thing about DaVinci result. It really is a very powerful software. When it comes to curry, the next one in the list is luminous. Worse is saturation, so I can saturate or d secular things in the image, depending on their luminant, our brightness. So, for example, let me again pick this red color in her top, and now I can selectively saturated or saturated or under saturated by moving it up for under for oversaturation and moving it down for under saturation, and you can see that it is not accurately picking all the red colors, maybe because the range is too narrow. So if I wide in this range, so by playing around with this strange, you can make sure that all the intended colors are selected. So this is with the effect applied. This is without, and you can see how much this red is popping up now. Similarly, I can click on the sky. The color ranges selected and I can market oversaturated are under saturated. So this is with bought this red color in her dress and the sky or saturated, and this is with the effect applied. This is without effect. Similarly, I can make one or saturated and one under sexual Richard are bought under such Richard. So you can see this is rid Arthuis effect, and this is with the effect. Right now. This is the original way form, and when I enabled this affect, you can see how it squeezes together and let me also research that toe move on to the last one, which is situation worse exaggeration. So discard allows us to saturate or be saturated certain ruminants values in the image. So, for example, if I click somewhere in the sky, grab this point and move it down. Everything turns black and white or de saturated in the clip, and in the reform, you can see that here there are a little bit of colors, but here, there no colors, and actually it's almost black and white, except for certain red and yellow colors, which you can see a little bit off. But everything else turns black and white or de saturated. But let's say we don't want to affect the whole clip. We want to read in the colors in her dress. So for that, let me research that. And now when I click this sky, the whole color ranges selected, but we want just a narrow range off the colors. We don't want these colors to be affected, so I can just click somewhere to add an additional points. And now this is deranged. That will be changing. So now if I grab this point and move it up or down, everything else turns black and white except for distressed and even in the way from you can see that all other areas turn out to be almost black and white, except for this location where she is in here. You can see all these colors, these air still saturated, but everything else is de saturated. Who I Because we selected the appropriate range where we are decreasing saturation. But she is probably lying in this region where the situation is not being affected. So this is without the effect and you can see all the colors in the way form throughout. And when I enable this curve, you can see all these colors in this region and this region are taken away. But everything else in this region stays intact. So again I researched that. So with these curves, we can create many amazing visual effects and play around with colors in very interesting ways. I hope you are enjoying the section tanks and I hope to see you in the next lesson. 14. What is a Qualifier: hi and welcome, and in this lesson we will learn about the qualifier tool and when she resolved. So this is the qualifier tool and it looks like an eye dropper. It helps to pick apart off the image based on either you saturation. Human INTs are mixed off all of them and you can qualify them, meaning that you can pick particular rallies off those and you can adjust them with all these other perimeters are in very simple words. Think off it as a selection tool based on colors. So for this particular example, let's say we just want to select these red circles on her top. So right now you see, these are the different sliders for you, saturation and Dominions. And right now nothing is selected. But as soon as I bring my cursor over in the viewer, it changes to ah eyedropper and I can click on any of thes circles. And as soon as I click on one of thes red circles, you will see all these sliders for you saturation and luminous shift based on the corresponding values for these red circles. But it doesn't give me any idea off what I'm qualifying are selecting. So there is a tool for that and that is called highlighter. So if I click that it highlights selected or qualified portion off the clip, and this is basically what the qualifier was selecting in the previous step. So in order to increase or decrease the selection, you can just keep dragging around this Ah ah, eyedropper. And it keeps electing more and more colors, right? But we don't want this blue color or white or black or yellow any of thes. So I will just ah, select this minus this eyedropper with minus sign. And in this way I can select different areas and subtract them from my selection. So with this, I can our new areas, but I don't want the's skin tones. So let me go back and, uh, select these red circles. And here you can see that this is the original clip and this is the selected portion, and you can further find junior selection to pick the right object by adjusting these sliders their position, their wits are by just doing these numbers below. It's lighter, and it does exactly the same thing. So where is basically the worth of this lighter softness is how wide these triangles are. And, Ah, similarly, Aiken just, uh, increased the color range. Let me turn on the highlighter and in this way you can see that as I move around this slider, it picks different use from the original clip. But I'm fine with this red color, so just stop it here for their Aiken increase or decrease the range to have more or less colors in my selection range. This looks good enough. So that was you. And I can make it narrow to select a particular you are making wider to select a range of views similarly for situation. Ah, you see, I can increase or decrease the situation range and that has me to pick the right amount off selected area. These red circles lie within this strange of saturation and further I can find Eun that to remove any unwanted areas. So you see these fine edges. I can further find June them by playing around with this range and position. Similarly, with the ruminants are, I can play around with these numbers as I increase the word. The skin tones also start being selected, but I don't want any off the skin don't. So I'll just restricted to this value. And now, in order to look at these circles closely, I can zoom in and, ah, in order to zoom and you can just turn your most scroll well, so just by turning it, you can zoom in and zoom out and toe move around to pan. On this, you can press shift and turn the most well, and in this way you can move it sideways are zoom in and zoom a. And here you can see the edges off. Thes circles are a little a propped, so I can play around with these numbers so you can see the blurred. Yes, I can increase the blur radius to make some blurred edges, and that helps to bake these edges soft instead of very abrupt. Similarly, if you're finding some black color or white color around these edges, you can play around with this clean, black and clean white, and that will help fix that. Similarly, you can play around with this in an hour ratio. With these, you can basically decrease the worked or entries the worked off your selection selected area, so just play around with these values and ah, that will fairly quickly give you an idea what each of these values does. No, we don't want to go there, so I just June it back. This looks good, but blurry radius is a little too much de noise. Let me just to reset them. So I just heard them a little bit. So just play around with these numbers and these sliders toe make your selection as accurate as possible. So I think this selection looks pretty good. And now I can turn this highlighter on and off alternatively, and this helps me to see how good my selection is. And I can tell that this election is pretty good Right now. Selection off the street killer is particularly easy in this clip because these red circles are basically the only red color in this whole picture. So there is nothing confusing for the venture is also and it exactly knows which tried color to select. But if you were to select, let's say, for example, these skin tones here you can see that these skin tones are quite similar to these stones in the cross and similarly, these areas, so here it would be a little tricky, but with this red color is pretty easy. So that is my selection. And probably I can further changed. He's a little bit because here I can see that this circle is not getting completed while here. You can see this line is there, so I can probably just learn with these little bit. Okay, this is fine. I can turn off the highlighter. And now whatever adjustments I make will only affect these circles which I have just qualified. And this is similar to what we learned in curves. But this is another way of doing that. So now that we have qualified this Ah, these red circles, I can go to the color wheels. I can change these para meters and now he will see that only the start circles would be affected. So, for example, I can increase the offset or decrease it. And you can see the color tone off those wrecker circles. Jeannie. So here I changed the offset. And similarly, I can also change the cane. And in this way I can turn this you into a different. You change the kin to make them brighter or darker. And there are a lot of things you can do and play around with and after. I have made color adjustments to these red circles. Now I can go and toggle this north on and off to show you the effect it has on these red circles, so I can either click on this number are the keyboard shortcut is command the on Mac operating system or control the on windows. So that's really helpful to work on very specific colors or maybe enhanced colors off specific areas in the video. Qualifiers can also be used to do green screening basically anything where you need to grab a specific color range and manipulate that color range. But sometimes we have to limit what the qualifier is selecting, and we can restrict its operation to a very specific area by using power windows, which we will start in the next lesson after qualifiers. Another cool option to select a particular part off the video clip for correction is using power windows. These are like masks and help to select part off the video clip based on its location in the frame, not based on the color, unlike in qualifiers. So here I have added an additional cereal Nordby pressing option as on Mac operating system are all as on windows. And now, using this note, I will be explaining the concept off windows in this lesson. So when you press this button, you have many different options for different shapes off windows. You have scare circle line arc, etcetera. So in order to explain the concept off windows, let me just go to the color wheel for a moment and let's apply some color to this whole clip. So I applied this bright red to the highlights, toe the mid tones as well as to the shadows, and I'm using this bright color so that I can clearly show you what happens when you use windows. So now you can see that when I change these values, everything turns red. But let's see what happens when I apply one off these windows. So let's ah, click on this scare window, and you see that immediately. The effect is restricted toe inside this window, and I can grab it and move it anywhere else, and only the area within that region will receive that affect. Similarly, Aiken, go again toe the these color wheels and I can increase the gamma, and you can see the brightness increasing only within that particular region. Nothing else is changing. Similarly, I can goto the blur tool and increase the radius, and that makes it blurry. And you can see that any kind off for adjustments I am making. As long as this window is selected, the effects are color. Adjustments I apply will be only restricted towards inside. Off this window, I can rotate this window by grabbing this marker, and whenever returns to a curved arrow, I can rotate it and you can see that affect also Richer's with that. Similarly, I can grab on one off these edges and resize that, and in this way I can fitted to any direct, angular kind of shape in the video I want similarly if need be. You can also distort this rectangular shape by grabbing on one off these corners and moving them around, and in this way you can make it an irregular ship. So that was the square shaped window, and I can reset that, and now we can also do the same. Let me undo the blur, and now I can go back to the window and let's apply the same effect to a circular kind off window. And you can see that immediately. The fact, nor reduces to a circular ship. And with many of thes shapes, you can see these ah, white darts around the edges with red borders so you can basically grab them and move them away. And in this way you can soften the edges, and that creates a nice fathering effect. And in front off all these windows, you will see this kind off button. So here, all of these are disabled because we're not using any of those windows. But here, this is a neighbor. So this Scheer shape with the circle field circle inside that So this is basically the flip bottom. So right now you see, the adjustments are taking place inside this window. But if I click that now, everything is flipped. So instead, off effects being applied inside Now they are applied toe all areas except the inside. So this is basically similar toe flipping the effect. So in this way you can flip the mosque, so that was scared in circular shape. Then we have this line, this ark, and let's play around with this ark. So with this ark, whichever points I keep clicking, I can add more and more corners. But nothing happens until you close this ship. So you see, this is the This is the last point. This is the first point. And when I joined them Now this ship is closed and the effect is restricted towards inside off that and again, we can flip it, we can move it back. They said that. So in addition to this kind of cornered ship, I can ah, keep dragging my cursor instead of clicking a different points. I can just keep dragging my cursor and ah, in this way whenever I close it. Now we have this kind of ship with no sharp corners because I didn't click it. I rather drag my most around. So in this way I can define a custom ship. And the cool thing is, if there are any imperfections in your first try for while creating this shape, you can for any of thes ships, you can keep moving these points around and you will see that, uh, color adjustments will also adjust accordingly in real time. So this is really cool function, and you can take as long as you want to perfect this shape, and you don't have to worry about the color adjustments. And in addition to all off that, you can even create multiple shapes at the same time multiple windows. So let's create a scare window. Let's create a circular window as well. And now we have two shapes with color adjustments being applied. Tow boat If I turn on my highlighter. These are the shapes where I'm applying the color adjustments and you can see some nice fathering. So now we have two mosques together, and, ah, if I bring them so that they overlap with each other. No, nothing is happening. But I can play around with these buttons, and I can adjust them in such a way that only the overlapping region gets this effect. So right now it's not very prominent, but let me moved sideways, and now you see, there is no area that is getting that effect. But as soon as they start overlapping here, you see that effect. So this is really cool. And ah, in fact, there are a lot off ways to manipulate the power windows and decide where the adjustments will be applied for now, let me just go back and research these this weird orange color and we're back to the original colors. And now let me actually use this scare window or a triangular window will make it a little brighter just for the sake off this example. So I can ah d shape it are. Ah, whichever way I want. I can edit this shape until it completely over overlaps this board. And now I can go to the color wheels. And this was quite dark. So basically, this was a part off the shadows and I can increase the lift. But let me just see what is being selected. Nothing is being selected. Why? Because both off these are on. So if I turn them off now, you see the window is selecting the board as we intended. And now whatever adjustments I make, only this area will get. Those are just so I can maybe increased the lift and you will see that this board will start getting brighter. This area is representing that board. So you see, when I move this, just keep an eye on this as I move this Well, you can see how it moves up and down. And this is basically originally the part of shadows. But I am moving it up by taking the brightness. So now just look at this board and this ward. You can clearly see that this is with daughter. This is with this and clearly by helped by you making use off these windows, we can apply localized color adjustments. So that is how we can use thes windows and let me go ahead and research this color adjustment as well as this window. And now there is a last option for Windows and Dart. Is this creedy int? So this is also very interesting and very useful tool. So the way it works is whichever color adjustment we apply. Using this window, that color adjustment starts along this line and then in the direction off this arrow, it starts decreasing. Okay, so whatever a fact I apply, it will be at full strength along this line. And then in this direction, that effect will start decreasing and dig. Radiant can be set using the length off this arrow. So if this arrow is very long now, there would be a very gradual decrease in the effect, so it won't be very noticeable. But if I decrease the length off this arrow, there will be certain decrease. So here there would be full effect. And over this very short distance, the effect would become zero. So in this way you can have an affect decreasing in strength over a particular distance. So, for example, this could be really useful in situations where you have one side off the picture brighter and the other one darker. Like in this case, you can see this were form. Here it is starting the top. But here it is. The maximum point is right around the middle. So there's lot off gap here. Even visually, you can tell that there are a lot off highlights in this area. But on this side there are no highlights. So by using this ah, power window, we can make it more even. And how can we do that? We can basically bring this arrow here and let's make some color adjustments. So these are basically shadows that we want to lift. So what I can do is I can increase the lift. But where I am I applying this. I am. You see, As I move this power window, you see what happens to localized sections off this reform. See? So in this way, by increasing the length off this arrow, I can further make it customized. This is where the shadows are being pushed up. And then there a fact becomes negligible in this direction. So I think we need to flip it around, move it back. So here these were the very dark areas. So I apply some brightness here. I actually take those shadows and pushed them up. And then since as they move along this side, the brightness is higher and higher, so I can gradually decrease that effect. And Aiken basically compensate those shadows with increased brightness for shadows using this window. So as I move it, you can see the effect. See? And by changing the length off this, you can see that the ingredient is more now and not the greedy in this less so. I think this looks a little bit unnatural to let me decrease it a little bit so that the lighting is even on this side as well as on this side are actually I can further increase that a little bit because, you see, here the shadows are still sitting around half the height off this were from, so let me for their increase it there is a lot of improvement, and you can see that by toppling this Lord by clicking on this number. So this is without the effect, and this is with the effect and clearly conceal off improvement. Probably this one would be better. So this is without and this is with that, So another very nice tool. And by adjusting the length off this arrow, we cannot just, ah, strength off the Grady in our the amount off fathering from this side all the way to the site. So I hope that now you know how to use all these different kinds off windows to your advantage. So let me reset that and let me also go back and re set these color wheels. So we're back to the original color configuration. So as you saw windows, give us Lords off cool options to make selections and then apply color adjustments on them in very localized way, I hope you found that useful. And I'll see you in the next lesson. The next tool in the sequence is this blur tool. And of course, with this one, we can blur and sharpened things in our video clip. So under the stool there is a drop down menu, and here we are options for blur, sharpen and missed. But the third option missed is a little bit more advanced, so we won't go into its details. So let's look at the blur option. And here are the settings, So the first setting is radius, decreasing this radius. By moving this slider down, it makes the video sharper, and you can see that it becomes more grainy. Moving this lighter up. It will basically increase the radius and that will blur things. And if you're using Qualifier are power windows. This stool will only affect selected area in your video. So let me go and research that the next one is this age by V ratio, which is the horizontal versus vertical blurring ratio so I can move this lighter up or down. But nothing happens. Why? Because just by Jane, the ratio does not mean anything if there is no blurring or sharpening at all, so first I need to make it blurry. And now I can move the slider up or down, and now you will be able to see the difference. You can see the difference to the way form as well as to the actual video. So moving this lighter up blurs things horizontally, and moving this down blurs things vertically, and I think it might not be as visible. So let me zoom into this. And now I think just by looking at these pylons, you will be able to tell the difference. So this is the horizontal blurring. And here you can see that these pylons are barely visible because thes are horizontally stressed. But if I make this down, bring this down so that it has vertical blurring. Now you can see that these pylons are quite visible and these look a little dollar similarly, Just by focusing on these red circles, you can tell that now. These are kind off horizontally stressed and these look a little bit wider. But now they look a little bit dollars, so they are vertically stressed or were tickly clerk. So if you want to blurt things unequally in horizontal versus vertical direction, you can control the ratio off blurring when horizontal and vertical directions here by boggling this Nord this is before blurring and this is after blurring. And one more important thing. That right now you see that there are red, green and blue generals under each the radius as well as the s by the racial. So by default these are linked. As you can see, that thes link buttons are enable so sliding one off these will slide all off them. We could also unlinked them and weaken blur things only in the Red General or the green or Blue General And in this way we can create some more interesting effects. I hope there's clear and I'll see you in the next lesson. 15. Keyer Options: next in the list is the key tool commonly referred to as gear. This tool allows you to adjust the strength off the effect applied to our north. Think of it like capacity for a layer in for show. So for this example, let's say that this second seal Nord is applying a dark red color. So this clip. So let's change highlights to really bright red color. Let's assume that we want to adjust the strength off this red color. So what we can do is we can select the relevant Nord and go to this key option. And here, under the key outward, there is an option called gain with which we can control the output or capacity for the selected North. So with this value, we can reduce how much off effect that North has on this clip. The default value off this game is one which means that this north is applying this effect in full strength. If I reduce it, then the strength off this red color you will see it starts decreasing, and similarly, this red color, which was sitting at the top and actually kind off a part off that was clipping when I decrease it. This regular star shifting down and the remaining color start shifting up and we can further keep decreasing it. And that will further squeeze this way from all these colors together. And also it will decrease the effect off the right color. And, ah, if I want to reset that, I can just double click on this text level, and it will restore its original value. But let me just go ahead and reset that, because this is really weird. Similarly, we can adjust the opacity off any Nordby selecting it and playing around with its gear options. Next we have the sizing tool, and if I click that here we have all different transform options for the video, for example, I can ban it right our left, and you can see the changes occurring in the reform as well. I can tilt it up. Are don't I consume it in and zoom out, rotated clockwise and counterclockwise and let me just research them and you can research any of these Well, it's just by double clicking on this text label. Similarly, I can stretch it horizontally, are exquisite. I can also do it vertically stretching and squeezing. Similarly, you could pitch it your in any direction, as well as flip it horizontally and even vertically. So these are all the transform options, and I'll just go ahead and research them. So we're back to the original radio. And although we could do all the transform options in the other tab, but we can also do it in the color top as well. The last tool in the stool bar is the three tool, and with this tool you can do three D imaging stuff. But it's not supported in the free version. Off resolve and clicking this tool does not do anything. You have to buy the paid or studio version to use the stool. Hello and welcome back. The trick we're gonna learn in this lesson is very useful. If you have many similar video clips to color, cracked and create, for example, will you clip short in the same lighting from the same camera? And ah, maybe if you want to apply the same color correction and grading on all off them without repeating yourself, for example, here in my timeline, you can see there. There are two similar clips which are short in the same lighting conditions and from the same camera. So I would like to color correct and create them in the same way. So what I would need to do is I will need to color correct and great only one off them. And then I can copy paste that onto the second clip. So for that purpose, let me try to color correct and great. This forced one. I will create two serial north and let me save color correction in this one and grading in the other one. So I will play around with the highlights in the first note, maybe give it a darker look and then for the second. Nor I can maybe apply some specific lot and also maybe give it an orange look. Maybe I will increase the shadows a little bit. So this is my source live where I have already worked on. And this is my target lip where I want to paste that work without repeating that. So this is just my way of quickly, you know, correcting color, correcting and grading off course. You can give it any look you want. The thing is, I can simply copy this and paste it toe the target clip. So this is our source Cliff, from where we want to copy that work. And this is our target. Live where we want toe based it. One off the ways could be toe. Select these north from the source clip and then paste those north under this target lee. But that is not the proper way to do that. The proper way to do that is selected target clip where you want those effects applied to. So this is where I want to apply those effects, so I have selected it from the timeline. Then we need to go to the source clip or the clip from where you want to copy, discolor, correction and creating, and then press with the middle most button and see what happens. I'll press it with the middle mouse button and in a second, thes effects are applied toe this new clip. Now, if you don't have a mouse with a middle button, I highly suggest getting one as it really helps while editing and grading in resolve, and it makes your workflow so much easier now, one thing you should know. What is that? All the previous work done on the target clip will be over written with the new correction and creating. So you can see that originally there was only one north under this target clip. But now there are two north which have over it in the previous one. So to show you that it actually overrides the earlier grade, let me undo it for a minute by pressing Kamar Z on Mac or controls on windows and apply some random creating toe this target clip for this example let me just give it a weird greenish look just to make it more prominent. Now again, I want to copy this grade from this source clip and I want to paste it on the started clip . So again I will select the target clip from the timeline. Then I will play on my source clip with the middle mouse button and you should observe two things. First, the weird greenish look is gone, which means it has been overrated in this target clip. And the second observation is the same look has been copied from the source, clipped and pasted onto the target clip. So this is how you can copy a great from one clip and paste onto a single or multiple clips . And this little trick is very useful to have an efficient and speedy workflow while color grading in DaVinci Resort tanks and all cast you in the next lesson. Hi and welcome back. Now that we know how to use thes color tools, let's try to adjust colors off these cliffs in our travel montage that we worked on earlier . So these are the clips and ah, colors, and some of them are, Ah, a little bit Okay, but in some off them the colors are pretty horrible, to say the least. And actually we included these kind of clips in our project just to show you the power off color correction and color grading, which we are going to explore right now. So in this step off color correction, we will fix the contrast, exploiter and saturation off these clips one by one so that when they're played back to back, they look balanced and to work on color correction. I will turn on my way form because I think this is the best tool for color correction. Now, if you look at the clips in this travel montage, we have around 15 clips and I'll show you how to color. Correct two or three off them in with particulars are really weird. So once you're able to fix those, you will be able to fix all of them. It's just repetition. So first, let's look at this clip number 11 and you see this looks pretty flat. Not the idea with this Ah color correction is that inside this were form. We are making use off the whole vertical range, starting from zero all the way to 10 to 3. But if you look at the scope right now, the way from it's pretty squeezed word legally, and that is why there is not much contrast and not many colors in this picture. By using these color wheels, we can expand it and have it tested partum as well as testy top and you will see the difference. So first off, all I will increased again, and that will bring the highlights up. And I can bring the shadows down by decreasing the lift. And here you can see it is just touching the zero on the shadows and in the highlights, it is just touching the top 10 to 3. Now here, we need to be careful that we don't go beyond these limits because if we go beyond, we start losing information because most off it is above this one's your do three mark, this is too bright and we can't see anything. So we need to bring it back. And we just need to touch this 10 to 3 mark similarly on the shadows. We need to just touch zero. And if I make this, you're bigger. You will see that some of these details are too dark. This portion in the way form shadows it corresponds to this part. Okay, so this is slipping a little bit. So that's why some information is missing here. So I need to move it up a little bit so that all the information in those shadows is visible. If I make it bigger now, most details are visible. So that was about giving it enough contrast in shadows and the highlights and weaken further play around with the Gammas to bring the mid tones at the appropriate level. So it starts looking good. Nothing. This is fine. We can further player on with the saturation. This looks specter if I make it bigger using shift F you see, this is after and if I toggle the Nord, this is before so you can see how big offer difference just a little bit off color correction can make. There was so much information in this image that we were missing, but we couldn't realize it until we use the full power off color correction. I can make it full screen using command F or control F and I can scrub through this and you can see the whole video has been color corrected commander of to go back. And now we can try the same thing on some other clip. Let's try clip number eight. So again, we have a pretty squeezed reform on the Y axis. So I will again increased again up being the lift down toe, have some nice contrast, and right away it starts looking better, and we can further play around with the gamma right now. I'm not playing around with the individual colors. I'm just decreasing or increasing these values as a whole, using these slider wheels and even further our decrease or increase the saturation if need be this looks better and commander to full screen and you can see it looks pretty good. All the colors look pretty natural and command have to go back and let's do one more clip. I think this has some nice colors, which can be further enhanced again. This is also pretty flat, not much situation, not much contrast. So I think we can further improve. It increased again so that it just starts starting the top. Now we can decrease the shadows so that they just start touching zero right there, player on with the Gammas, and when you play with one wheel, it will mostly affect that portion. For example, gamma mostly effect the meat on, but the highlights and shadows would also be affected a little bit. So you have to go back and are just the remaining portions as well. A couple times. If you further want to enhance the situation off these flowers, you can do that. Using the saturation command after full screen in 1990 looks pretty good. This is before, and this is after so pretty significant difference. So this is the basic process off color correction, and if we wanted to, we could repeat this for all off these cliffs one by one. But that would be just repetition, I hope. No. You understand how to perform color correction. Thank you for watching this with you. Hello and welcome back in the previous lessons, I showed you how to color. Correct some off these clips, but I have gone ahead and color corrected all off them. As you can see these colorful icons on all of these clips and I've actually rendered it. And here is the actual video. So you can watered and see the difference in this lesson. I will show you how toe put together the travel montage that you just saw in the previous lesson. So these are some short video clips I have provided in the course resources. And let's add them together to turn them into a sequence for that travel one touch. So first off, all I will never get to these clips on my computer and had all off them one through 14 to my media pool. And I'll say yes to that. And I'll also go ahead Toe heard some music. Yes, this is the music and ah, some pictures. So I think this picture and another picture off the Joshua Tree National Park and all of the's clips and pictures and the music is provided in the course resources. This is the media workspace. So now that we have added media toe the media pool, let's go to the edit workspace, closed the effects library, go to the media pool, and here you will see all the media that we just added, and you can see there. Right now. These clips have Bean shown randomly, so let's go to this button and sort them by their file names. And now they are in sequence. And also you can see that the timeline is empty yet. No, I will select all of these clips. First, add them to the timeline, and you can see that the timeline is created with one order in one video track. And all of these clips are in sequence. 1234567 Hey, 89 10 11 12 13 14. And you can also see that this timeline terminal was also created when I placed them into the timeline. So let's double click that, too. Rename this timeline. Let's see travel montage and let's also go ahead to save this project as save project as and let's rename it travel one touch safe. So now, later on, whenever I want to save it, I'll just press Command s on Mac Magal Burning System and Control s on Windows operating system to save it. So this is all the media that we're going to use, plus Ah, one picture at the start in one picture at the end. So let's ah, select this. This is the one I want to place at the start. So let's go to the concert option to insert it. In the beginning, this is the air in. So let's insert this one in the end, and now you can see that the length of our timeline firm from start to finish it is around one minute and 58 seconds. But we'll try to keep the final video under one minute, so we will need to do some trimming as well. No one side note here when you add media to the media pool and try to play it from the tap , chances are that you might face some Laghi video playing here. Right? You see this? These frame words these are not staying at the same value, these air fluctuating. So what this means is that the media has not been optimized to play on your computer yet. So to fix that, what you can do is go to the top menu playback. There is an option called render cachet. And under that, by default, it is selected. Not so. What you need to do is you need to pick this option smart. And as soon as you do, you will see that a red line appears on top off your timeline. Okay, so it looks like this. And ah, initially all off, it would be red. Okay, So red means these portions have not bean optimized for play backyard. But some portions off this line were slowly start turning blue. As you can see, this has turned blue. So blue means it has been optimized to play back. But red means it hasn't bean optimized yet. So give it some time until all of this line turns blue from red And when all off it has turned blue. You can play and hopefully you won't see any legs anymore. Even if some portions are still read, you can play the portions which are blue, and those portions in those portions, you hopefully won't see any lacks. See, Right now, the frame rate stays the same at the full value. But as soon as it will start playing this region, you will see some legs here, See? So just let it sit there for a minute for a few minutes and hopefully all of that really turn blue very soon. Moreover, you will see that there are a lot off jump cuts at all these video transitions, see, So we will apply some video transitions to make these jump cards smoother. And also, you will notice that some off these clips are a bit shaky because thes were just ah short without try parts. So there is some shakiness going on, so we'll fix them with stabilization in the end, off this lesson and before starting, let me give you the big picture off what we're going to do in this project. These clips are numbered from one through 14. You see it start from flip number one, and it goes all the way to clip number 14. So these clips were basically taken in the chronological order that means the first Clippers apart start off the day at Joshua Tree National Park. Then the activities done there during the day in a sequence like photography, climbing, etcetera and the last few clips are about the day coming to an end with the sunset. In the very last clip, we will put one picture off the park at the start and one picture at the end. It will also add some background music to that, and we will sink thes video transitions to the beat off the music and add some titles to that so that we can practice all the editing tools we have learned so far in this course and since we will be singing these video transitions to the beat off the music. So let's try to add some background music. Let's bring it up so that we can ah see this track and right now you can see that nowhere forms are showing up. So what I can do is I can go to the timeline view options and here turned this or do you? We're from on, and now you can see the way form for the background music, and you can also see that this line has all turned blue. See, I just give it a few minutes and all off that turn from red to Plews or now all off it has been optimized to play back, and you can see that these clips have some audio. Also, not any meaningful audio, but just some random sounds off camera clicking here and there. So basically, we don't want any sound from these clips. We just want the background music. So what I can do is I can right click on this track containing the audio for these clips and delete that track. So now the only audio we have is the background music. And now, if you see the length off, this music track is too much for our travel. Monetize what? I can do it. I will trim the extra portion off the music so I will zoom in. So to zoom in and out off this timeline using your mouse wheel. What you can do is on Mac operating system. You can press option and move your most well are. If you're using windows, you can press all and move your most well, and in this way you can zoom in and out red easily. So I need to trim this portion off the music. And right now you can see that the selection moored is enabled. So I want to go to the blade, are resurrected more, and the shortcut is be so I can just either press this our press be on my keyboard and automatically it is enabled. And now I can just bring it to the top off to the alignment off the end off these video clips. And here I can press command be to insert a card command, be on Mac opening system or control beyond Windows. No, I can again go back to the selection more by pressing a click on this to selected and press delete to get off that. So now we have enough music toe cover the length off these video tracks. But also remember that right now it is around two meters and we will need to trim it toe under one minute. So we will need to out the unneeded portion off music again later on. So again, zoom in on the timeline and here you see, these are the original length off all these video clips and we will need to do some trimming on those as well. So let's start some editing now. Remember that we need to do some trimming on these clips, so let's trim them a little bit from the edges. And later on, we can further fine tune that. So one way to trim these from the ages is using again the resurrected more, well, press B to enable this resurrected more. And let's try to cream these clips a little bit from the edges. So the first way is using the resurrected more, and I'll just bring it here. Press command beyond Mac or control beyond windows and inserted. Now I can press a for the selection more click it and now I need to get rid off this portion. So what I can do is I can press, Ah, delete on Mac operating system are backspace on windows and that portion has been deleted. But you will see that the cap is still there. Okay, So by pressing the backspace on windows or delete on Mac operating system, you can just get it off the clip. The selected clip, but the gap would still be there. But if you want toe delete the clip as well as the cap. What you can do is let me undo that to bring it back. And now I want to get it off this clip as well as this cap that will be created when it's called. So to do that, I'll selected and on Mac operating system, I can press, shift, delete or on Windows Press delete button, and you can see that dark clip is gone. And also it took away with it the cap that was to be created here. So no, the gap has already been taken. Care off. Now I will trim these clips toe parts. We need to tell the story, and later on I will further tweaked the streams to sing them with the music so we can keep using the resonated. More inserts, Um, cards. Go to the selection. More breasts. Ah, shift delete on Mac operating system or simply delete button on the Windows operating system and the clip and the gaps are also gone. But another way to dream that could be with the selection more, and you can just bring your cursor to the edge of a cliff until you see this kind of cursor , and now you can just drag it inside. But this results in the gap. Similarly, I can trim this from the edge. Dream that from the edge also. But you see that this is creating some gaps. So the way to get rid off those gaps is by pressing them. And now you can see that this cap has been selected and simply pressing delete button, and that guy would be removed. Similarly, I can select this gap, pressed the delete button, and that captures removed. But I think the best way to trim these and also take care off the result and gaps at the same time is using this dramatic board. So I select that and let's try to trim. These clips are using the trimmer more and ah, the way to do that again is to bring your cursor to the edge off the clip until you see this kind of cursor. And now when you trim those, everything will be sleeping with that so the gaps would be taken care off at the same time . So in this way I can trim those clips a little bit. This is not the final trimming this is just to bring them within one minute and later on we're going toe sink these transitions to the beat off the music. So in this way, I can do streaming on all these clips to make them shorter. And not only trimming will also need to pick the right portion off the original video that goes well with the pattern music and the team off our overall travel mont touch. So looks like we're still at around one minutes and 22 seconds or so. But we'll take care off that as we go along. So again, let me go to the resurrected more by pressing b bring my cursor here, press control beyond Windows or command beyond Mac operating system To insert a split here , press a for the selection more selected and press delete. Okay? And also, I can you can see if I played so right now, the music is kind of starting abruptly, and we can big this Norge and move it inside to have some nice fade in effect for this music. So now I think this would be some nice fade in effect. Okay, that is better. No, I think I'm gonna stop right here to end this lesson and will continue working on this in the next lesson. 16. Adjusting the Clips and Trimming: Hi. Welcome back and let's continue working on these clips. Now. I will trim the clips to the beat off this background music and I'll further increase the height off the audio track as we will be trimming toe the beat by looking at this fearful. So basically what we'll be doing is we'll be previewing this again and again. Looking for certain peaks are certain beats in this rare form where we need to bring these transitions. Okay, so let me catch it off the media pool because we're done adding media. So we'll be looking at program monitor. Basically, we will be previewing and looking at this were formed where beat is occurring and dreaming these clips to basically sink these edges with those beats and the music. So first of all, so the first beat is occuring here. So let's decrease the timing off this first picture so it starts. So let me also show you how to read this time court. This is basically hours, minutes, seconds and milliseconds. So this is zero miniter and zero seconds. And this first picture is starting from 00 and ending at four seconds and 23 milliseconds. Not exactly milliseconds per terrace, basically 24 units in a second and right now the first images ending at four minutes and 23 . Let's call them Ah, millisecond for no. But the first beat is occuring here. So let's try to and I will use the trimmer it more by pressing t so that I can also take care off the gaps simultaneously. So let's bring it down to sing with this beat. And if I played so basically, what I want to do is this is where the music is speaking up. So I want this to sink with the purse with this person taking step. So this is, I think, looking nice right where the beat occurs. This is where the person is taking this step. So there's a nice singing here. So where is this ending? It is ending at three seconds and one really second. So this is where it basically transitions into this first clip. And now here there is another beat a drink. Let's dream this part off the first clip clip one so that every time a beat occurs, we basically transition into the next clip. So using the trimmer it more I will trim this and also take care off the resultant gap at the same time. A little bit more trimming needed a little bit more. So this is basically a back and forth process a couple times to get the best match between the transition and the beach. Okay, this is fine. And where is it? Starting 301 ending at 505 And now let's look at where this clip to should end here. So I trim it further, a little less. I think I want this transition here. We're two speakers occuring here, right here. So I'll moved ahead a little bit. Okay, this is better. You can see that, right? We're this speak is occuring in the music. That is where we also transition from one clip to the other. And if I played back, I think a little bit more trimming would be better. Exactly. This is better. Then reassured the transition from clip three to clip for Occur here. So I think it should be somewhere here. So I will dream it to this point. Maybe a little bit more trimming here? Exactly. No. Let's look at where the next Bt's here. So I trim it further to bring this junction to this position a little less. Maybe. No, not this one. A little more. Played back and forth a couple times to get the best sing between video transition and the beat. A little less thistles. Good. Now let's look for the next beat somewhere here. A little bit more trimming needed. But I think there's another beat occurring here. A to this point, not much gap between these two little peaks, but I think if I trim it lesser so that to sync it with this next beat, let's see how it looks like a thief. I think this looks better, but let's just adjust it a little bit more. I think this is good enough. No, I think this process off. Sinking the beat off the music to the video transition is kind of repetitively. You have seen how I'm trimming the clips by looking at the way form and sinking the clip positions to the beat. So I'll fast forward this part in the interest off time. - Okay , I have dreamed all the clips to the beat off the music and it's all looking much better now , so here I go to the start and let's preview it, - Theo . So I think now it looks much carefully placed together because every time a beat new beach stars a new clip also transitions. So all further increased the length off this photographs. Right now, this is ending at 47 12. So let's extend it a further so that we last 48 seconds. So this is where exactly we have 48 seconds. Let's extend it a little bit. You know, we shrink thes clips a little bit, so we have the extra piece off music that we don't need. So again, I'll press the be to select the resurrected more. Bring it here. Press command, be to insert a cut on Mac operating system or control be on windows. Now, I can select a for the selection more. Select this unwanted music and press delete. And if I zoom in here, you will see a sign off a speed o meter. What does that mean? Actually, this is a picture, right? And ah, when we extend the duration off a picture or play around with the timing off any clip, you will see this kind off speedometer signed her eyes there, which basically gives a sign that some spirit adjustments have been made to that No further . What I want to do is I want this picture Toby zooming in. So right now, you see, this picture is kind of stagnant. So what I want to do is, as time passes by, I want this picture to resuming in a little bit. So to do that, what we need to do is insert a couple key frames. This is where the transition is happening. So let's start zooming and after this transition has settled down. So let's kind of insert one key from here and now to insert the gift for him on this particular element, I'll click it. Go to the Inspector. So I press this key frame icon to start give framing here. And right now the value of zoom is one. Let's say we want toe keep zooming in until this point, and here I'll press this gift from button again and let's increase its value to something like this. Okay, basically, this is where the zooming and stars this is where it ends, and in between it will zoom from a scale of 1 to 1.46 So let's see how it looks like. And right now it looks a little bit shaky. But when it has actually rendered and we look at the final photograph, it would look much smoother. Moreover, if we go back, there are some clips where we might need to do a little bit off speed adjustments. So let me turn down the volume. So right now we have, ah, the in point and out parts off. All these clips sink to the beat off the music. But we also need to do a little bit off adjustment to the actual content in those clips because you see these are smaller chunks off bigger videos. We can basically make some tweaks to the actual content in those clips because we can move them a little bit sideways to see which content from that actual video is better suited for that particular clip. But before that, let me adjust speed off a few off these clips like, let's say this one. If I go to the dramatic more selected here, you can see the quarter view and you can see where on the top left is basically again. The in point. This is the out point off this particular clip. This is the frame right before the start. Off this clip. And this is where you will see different right after the end off this clip. OK, so let's see what we have here. You see that there is not much going on this in this clip. It's just basically banning around with this. Ah, sunrise. What I want to do is I just want to have this around in the middle. I want much ban in this view. So what I can do is I will need to select a certain portion off this video where there is not much plan going on or I think a better way could be that maybe what if we make the speed off this clip slower. So for that I'll go to the selection more select this clip goto the right click menu and here you will see an option to change the clip speed. So press that and let's decrease the speed right now. This is at original speed, which is 100 person. So if I decrease it to 50% now, this will play at half off its original speed. So changed that. And now let's see how much movement we have again. If I go to the trim it more and maybe select some clip that there is not much movement happening, I think here we formed that. So this is fine. The sun rises fairly kept around in the centre, off the picture. So I like that. And as soon as I adjusted the speed, you can see that this speed of meter icon starts appearing on this clip. Then I think there is another clip where we need to adjust the speed to free play this clip , you see that he is moving kinda slow for the beat off the music. So in this particular clip, what I want to do is I want to increase the speed at which he is walking. So for that, what I can do is go to the selection more, go to the right click menu and change its clip speed. And this time we want to increase the speed compared to the original speed. So this is originally 100%. Let's make it 200% so that he moves faster. And if I played now again, you see the speed of me Try con. This is a little fast. So again I'll go to the chain Cliff Speed and let's decrease it to 1 50 maybe, or 1 60 And let's see how it looks like and maybe changed the content off this with you as well. I think this would be a nice starting point, and I liked the ending quite as well. So let's preview that. Okay, this looks fine. So in this way I have adjusted the speed off some of these clips. And now let's also further tweaked the content off each of these clips. And remember, we have already are just earthy length office clip. We just need to tweak the in and out points a little bit so that we can get the best portion from the original radio to go with the team off this video. So I am in the trim it'd moored. Let's look at the content off the first video, and let's change it to where he is taking the step. Let's see where it looked like. This is better, Then look at the content off the second clip. I want toe end, where we can clearly see the screenshot on the camera itself. So let's see what it looks like. There's a little bit off shakiness at the end of this portion, so maybe I would move it here. Okay, this is fine. Then we can play around with the content off the third clip. And I think there was a little bit off shakiness at the end off this clip as well. So I like the first portion off this clip. Okay, Maybe a little bit to the left. No, here. We adjusted the speed already, so this is fine. Now, we can just take content of okay, since there is some rumor going on here, Some camera panning. So I want for this clip to have a camera settled down towards the end of this clip. So because there is not too much movement on both sides off this edge, So right now this is looking good. This is a long clip. So let's see if we like this portion. Too much sun in this clip. So I will maybe move it a little bit back. Still, I like this portion. Were camera spanning around. Okay, this is fine. Next we have Let's make it a little bit faster, so go to the selection moored. Go to the change clips speed and let's increase it to 1 30 That's fine. I want to basically include more portion from this clip. So let's go to the trim it more. I want this clip toe end where he is on the top of this bigger rock. So and now he looks back to the photographer here. It's kind of blurry where it is ending. So I don't want toe end here. Here. Be better. Okay, this is looking good. We have already adjusted the speed off this the content is also fine. Then we can go ahead to eat the content in the 10th clip. Within this split, I want some zooming to occur so that resume into the person taking these pictures. So I want this zooming to start at this point and and at this point so that we're not interfering with these video transitions on the edges. So at this particular position, where I want to start zooming, I will turn on the position key frame and zooming key frame bought. Why? Because if we just zoom in, will be zooming into the center. But I also want to adjust the position so that we're zooming into this person. So this is where it starts. And this is very true, Aaron. And here I need toe set my final values for zoom and position. So let's increased assume toe a position to a value off to maybe and accordingly. We'll need to adjust the positions in X and y so it would be negative, Rex. But we need to stay away from the edge as well. So this is fine. Then we need to increase the Y value. This is good. And now if I go to the start plate, you can see that there is some nice zooming effect going on. So this is good. Now we can further continue playing around with the content off these clips. - I think this should be perfect. So this is good, because we're banning only in one direction and we end up with sunset exactly in the center towards the end of this clip. So this is what I wanted. So with that, if I zoom out, we're basically done with the trimming off all these clips and choosing the in and out points to sink them with the beat off the music. And also we have made some speed adjustments to some of these clips. So let's end this lesson right here. And let's continue working on this travel montage in the next lesson. All right, so now we're ready to add some titles to our project. So let's go to the beginning and and let's add some titles. So to add title, I will go to effects library. Under the tool walks, you will have an option for titles and under titles, you will see a lot of different options. So the one I want to choose this text, So click it and bring it to the timeline. So right now, by default, it is around five seconds long. So what I want to write in this title is if I select it and go to Inspector, I want to write Joshua Tree, change its color to this greenish shared, maybe increase the size and let's see where it is. Let me go ahead and change the opacity off the image underneath so that we can have this text more prominent so you can still going to see this image underneath. But now the text is standing out. So this is good. And I could further tweak the color off this text. Jean, uh, tracking are the spacing between characters and weaken further changed the position. Okay, the Y position. We want to have it toe higher position and maybe decrease the size a little bit and changed the tracking. So there it looks nicer and further decreased. The A pass ity off the image underneath so that it kind of stands out. We can also make it bold if needed. And then we can add some more text. But Venice, it starting it is starting at just six milliseconds. So I want some gap between the start off the clip and the start off this text. So let me move it off a little bit ahead in the timeline and let's started exactly at one second. So this is where it starts. Maybe we can further decrease the capacity off the image to have it stand out more. And I want to add one more title. But before that, where is it ending its ending at six seconds. So I want this title to stay on top of this clip because this is kind of dark. So this title is standing out here and if I played is looking good and right here, it would end. Let's add one more title toe that that says National Park and both off these titles should end at the same time. But the second title, which says National Park. It would start a little bit later after this one has ended, so we will add some nice animation to that as well later on. So change it's formed to Ariel. Also, let's change its cutter do yellowish with the lesser glow increase tracking. Change its position in why decreased the Why position. I'll increase it to bring it closer to the upper title. Let's also try to move this upper title a little bit lower so that they're close to each other. There you go. So this is the title ending At five minutes around five minutes or six minutes. We can also add some drop shadow to the lower title, and we can also add some animations to these titles. Okay, so if you select this title and goto video transitions, there are many transitions you can choose from, but ah, kind off like this trying left and triangle, right? So if I bring it and drop it on top of this and ah, oneness with trying left and let's choose the triangle right for the other title. And now if you played this animation kind off ends before the guy starts walking in the background. So this is looking really nice, but it kind off ends abruptly. So what if we wanted toe vanish or disappear slowly We can apply some give frame toe that in terms off it's ah capacity. So you see, we can start our decreasing do capacity at this particular point. So if I select this lower our title, go to the video options and turn on the capacity key frame. Similarly, I select this one and also turn on its capacity key frame. So here the capacity is 100%. And at this point, I want this capacity for both off these to go to zero. So turn on key from here as well reduced this a passage to zero, select this go to the video options and also turned on the key frame for this one and decrease its capacity at zero. So what will happen is that within this time frame it will have full capacity. But at this point where the first key free markers, that's where the opacity will start decreasing and it will start becoming transparent more and more until at this point where capacity is reduced to zero and transparency is basically increased 200%. So this would be a nice disappearing effect with time. So if I played yes, there we go. Next, we can apply another title in the end. Somewhere here, we want to start the ending title and it'll last till the end. I can go to the titles rink text known here change its duration toe sink with the end off the video. Actually, I'll turn off on the snapping so that I can snap it to the end off the timeline, and now I can actually go ahead and modify it. So let's type something like, uh, thanks for watching Ariel make it bold. Decrease the size, increase the tracking. And right now it is lying in this center. Change the color again, and maybe we can go ahead and decrease the opacity off this picture in the background so that the title pops out. So maybe a little bit bigger size for this text would be better. And we can add some background so it's worth and its height. So by default you won't be able to see this background box until you increase thes height and width values, but capacity decrease it. And actually we can change its position with time. Okay, so we can maybe start out of her view. And ah, it basically slowly rises to the middle off this frame so we can insert some position key frame in this position. And then let's say it slowly rises to the middle off this frame. So let's apply this second key from here, where it would basically come to this particular position. Insert Ah, another key frame. But right now, both these key frames have exact same position. So I'll go back and change this Y position to something negative so that it is not in our view. And now, when I played, let's further change the location off the second key frame so that the speed is a little slower. So the background picture is zooming in and this is kind of moving from the bottom to the middle off this frame and we can have it keep going to the top. Just we will need to change its location changes position for the second key frame toe something at the top. It is out off the view, so it will look like a scrawling title. At this point, I think it would be nice to have some fade out for this music because right now, if you see the music stops abruptly So I will grab this not and move it inside so that we have some fade out effect for this music. So if I played no still, I think we can play around with this fade out and instead off linear fretting out we can have it decreased in occurred freshen Northey actual music control Z to undo that. And I congrats this little dot here, and I can move it to implement a nonlinear, kind off decay for this song level. So if I played again No, I think the fading out effect is much better. So now that we have added titles to the start and to the end, let's actually have a look at them. Okay, this is looking good. That's the ending title and, ah, both her looking nice. So let's end it here for now. And let's continue working on that in the next lesson. 17. Final Touches and Delivery: all right, welcome back. And now you're ready to insert some video transitions and try finalizing what we have done so far. So I will zoom in to the first picture, and if I played, you see that there is no fading in effect. Only the titles have some animations. But I also want some fading in happening for this image. So I can just grab this not at the beginning, and move it in this basically implements of fared in from black. So you can see it start from black, and it nicely fades in to this picture. It's as simple as they're just moving this notch inside. Similarly, at this transition, I want this image to also fade out to black before moving on for the next image. So you see, this clip also starts in the dark, so I think it's nice to have ah fade out to black for this first image and let me turn off the snapping. Now you can clearly see the fading in effect in the start and fading out if it in the end and then nicely transitioning to the next clip. So that was the transition for the first image Similarly, we can apply. Some fade out for the last image, and it's as simple as just grabbing this not and moving it in words. You can see that basically as one. As this title settles down to its final position, the background and the stars fading out, so animations have been implemented for these pictures. Now let's apply some transitions to the video clips. You see. This is quite a hard edge or hard transition, so let's try to replace it with something more gradual. So I'll go to the video transitions, and there are many nice transitions here. Some are a little bit flashy, but some are pretty nice also. So these are the dissolve type transitions, then these are the iris motion, shared drive and many others. But I personally like these dissolve transitions. So first, let's bring this dissolved transition and drop it here and you can see that this is pretty nice. But this is taking quite a long time, so let's try to squeeze it. And now, if you preview it, this is nice. We can use a variety off these transitions, so let's ah, for the next one, I think blurred this all would be good, so it basically blurs before transitioning to the next clip. Pretty nice. Then for the next one, we can apply maybe additive resolve these transitions. I can basically put them. If I selected and deleted. I can place it on the end off one clip or to start off the next lip are at their junction. But I like this. Ah, transition right at the junction itself creates a better effect. This one. I don't think it will look nice, so dip to color dissolved. Let's try that or even we can replace it with Blurred is over. I think it's a preview It this is good non editor dissolve. Then another Blurred is all. So in this way I can replace all these hard junctions with some nice transitions. And I will fast forward this part because there's not much learning going on here. You have already seen how I am deciding with junctions. Get which kind of transition so I'll fast forward this part. So I'm done with replacing all these hard edges at these junctions with some nice we do transitions. And most off these. I used these different types off the dissolve kind of transition and let's have ah, a short preview to see what it looks like here. Okay, that's looking good. And, ah, I think there is some camera shakiness going on in some of the clips, so we will need to do some stabilization, like you see, So we will need to add some stabilization. So for that, I will need to zoom into the timeline and ah, we will go to the color tab where we have the stabilization tool. And here you see, there is an option window, and right next to that, there is a drop down menu and there is a stabilizer option here. So let me choose this stabilizer option. Let's apply stabilization to all of these shorts. So first I will select one off these short, PRESTA stabilized button, and it will basically analyze how much shakiness or how much movement camera is going through. And, ah, based on that, it creates a map. So first it analyzes the clip and it comes up with a map showing how much movement off camera this short is going through. And then it tries to compensate for that. Then I can select the 2nd 1 Prestes stabilize option. It is analyzing it. So I'm just running a simple stabilization algorithm on all of these shorts. I'm not doing any complicated tweaking off stabilization variable. Just doing normal analysis off these clips and the default stabilizer for DaVinci without using any streaking off the variables. And you can see that here. There's a lot of camera movement towards the end off the clip, but here in this clip, there is not much camera movement going on. So by looking at house exact, these lines look like you can tell how much movement off camera there is in this clip. And no, if I play one of these sharks, so you will see that much off the camera movement have been has been compensated by using the default stabilizer. And ah, I think that is good enough for this particular combination. Off clips. Let's play it so you can see that initially, there was a lot of movement in this camera, but ah, much of that has been compensated. All right, so I have applied stabilization to all these clips, and ah, you can tell that by looking at this yellow icon at the bottom off each clip So this basically shows that the stabilisation has been done to that clip. You see, this was just an image of no stabilization has been done. So hands no yellow, I can hear. But under all the video icons, I applied reduced civilizations under all the video clips, you can see these yellow icons. Similarly, if you go to the edit workspace just by looking at the timeline, we can tell for the most part what major effects have been applied to them. So first of all, you see this speed O meter icon shows that the speed has been adjusted for this clip for this image, we have adjusted its speed so that it's lasting for 67 seconds. Then we're you know, these three clips. There are some speed adjustments going on with them and with this one as well. Similarly, whenever there are some key friends applied to a clip, he will see this kind off diamond icon. And if you click that you can further look at the details off this clip. If you zoom in, you can look at where exactly the key frames are being applied and what kind off different . So this is a transform key from that means there was some zooming and happening. So that is how you can tell by looking at the timeline to see what kind off effects have been applied to different clips. So let's have a final look to see whether every effect we wanted has been applied or not. So you can see there is some Ah, fair didn't apply to the music. I could I could further decrease this fading to change it from a linear fade in tow a non in your failing by moving this point downwards. Similarly, we have a similar kind off fared out happening at the end. Then these images are fading out. There is no fear didn't required here there is fading in and fighting are being applied to this image. Some animations have already been applied to the starting tighter than the ending title. Then all the junctions, the hard junctions have been replaced with transitions. So all the effects that we wanted, whether there were audio effects or video efforts, all of them have been applied. And now we're good to go to the deliver top or delivery workspace. So this is the deliver workspace where you see all our clips starting from the first clip all the way to the 16th clip. All of them. Our position in sequence with the tracking applied to all the video clips. Then there is our timeline with all the and it's already applied to each of these clips. Here is the preview. If we want toe, look at the preview again and ah, this is the render jobs Right now. There are no jobs in Q because we haven't added any job to this. Q. Okay, so let's see, what kind of options do we have in terms off rendering? So on the talk, there are some presets, like if you want to publish it to YouTube or Remune, etcetera. But we just want to give it a custom location because we just want to save it on the computer. So I will give it to you address off my desktop, then, uh, here It can produce individual videos or individual video clip from each off these video clips, but we just want to render to a single clip. So, of course we want video, and here are some export options, so the format quick time is fine. Kordic. Apple progress for 22 sq. That is fine. Similarly, the resolution I would like 1920 by 10. 80 istea. Okay, so 1920 by 10. 80 S T and frame rate is okay. 20 people 976 No need to go to advanced settings or subtitle settings. There are no subtitles. With these settings, we can add this job to the render cues. Right now, this is empty. But when I press it, you can see this job is added here and now with these settings, I can press this button to start rendering it so it starts rendering. And here is the progress. There is only one job, and right now it has been processed 1% 8 point for two minutes remaining. So I will fast forward this part. All right, so the video has been rendered and here is the final radio. This is 46 seconds, and it's around one gigabyte. So you can look at this, travel Montag's closely and try to emulate whatever we did in that and that will give you a chance to practice all the editing tools we have learned in this course. So that's it. And I hope you enjoyed the scores and learn many useful editing techniques. Thanks for watching. Hi there. Welcome to another section off the scores. And now let's have some fun. So in this lesson, we're going to learn how to do green screen compositing with DaVinci Resort, and this method is going to work. Rather, you're using the version 12.5 14 ar 15. The only difference is that for the later versions, the tools have gone better and better and more accurate. And actually, this is one of my favorite things to do in DaVinci results. So let's get into it. So here we have a video off a dog in front, off a green screen. But you can have anything happening in front of the green screen, and we're going to learn how to give it a custom background. So here is the actual footage off the dog, and let's see how well we can get rid off this green background, and we will do that in the color works best using notes. So this will also give you some further information about the working off these notes. But first of all, we need to bring our footage and the background picture into timeline. So this is the footage off the dog, and this is one background, and I'm just going to have fun with this video. So I'm going to use to different backgrounds one by one. So this is one background. I will bring it toe the timeline, and then this is another background placed back to back and on top. I will bring this video, and this is a pretty long video. So let's choose an appropriate portion off this video where there is some movement going on . So I will cut it here using command, be on a Mac or control beyond Windows to lead the unwanted portion. And let's also cutters here using Come on, be again, delete the unwanted portion here and bring it here. So here are these background pictures and videos sitting on the top and here. Keep in mind that the background picture or video needs to be in the bottom layer and stack the green screen footage on the top. That way, when we get rid off the green color in the four wrong layer and make it transparent that way, when we get rid off the green color in the four wrong layer and make it transparent. The background layer can shine through. If you're raised these layers the other way round, it is not going to work. So do keep that in mind. So basically what we're going to do is we're going to make these green areas transparent and under this footage lies our background picture. So when this green area and the footage becomes transparent, we can see the background in this. So that is worth the green Screening is about. And since we're going to do that in the color workspace, so let's go to the color workspace. And here you see, there is one north already here. Now we need to tell them when she resolved that we need some transparency. So to do that right click in this area and click this art off output and this is going to add this blue little dark in this region in the open region. Now this is the Alfa Channel, and we can connect it to the Alfa output. So now we can go ahead with the green screening. I will zoom out on this picture by pressing command minus on Mac or control minus on windows. Now there are two ways to do green screening. One is toe. Use this Ah ssl you situation and luminant to create a mask by clicking in this green area to pick the full range off thes green colors. So if you have a very violent background like this one where you have just a single shared off green color, that is going to be easier to use. But in this one, we have slightly different shades off green. You see, here it is lighter. Here it is kind of darker here we have textures and so on. So in this situation, I would actually prefer to instead off using SSL out proper going toe the three d qualifier . And now we have to draw lines in this green area to tell them when she resolved that thesis , Green regions, we want to get it off. So I will pick this and ah, no, you can draw lines. And just to make sure that there is not much movement going on in this footage, Okay, so there is just a little bit off movement going on here, but otherwise the dog is pretty Stationery. Now you can see that. Ah, here in this north, the DaVinci is always actually getting rid off the dog. It is keeping the green areas. And this is exactly opposite off what we are looking for If you want to get it off the green areas and we want to keep the dog. So to invert this selection, I will press this button called involved. Okay, So when I pressed that you see that the selection has bean inverted here and now, for the most part, it has been taken. Care off. Just some minor adjustments are needed. But also you see that there is some green area here on DA. I could draw a few additional lines in this area so I can go back for a moment and ah, I can zoom in by pressing command, plus our control plus on windows and ah, here. If I assume toe different position in the footage here, I need to draw some lines in this region to further refine our selection. And if I inverted here, you see that some off these portions off his mouth are also being removed, and we need to make sure that there's no effect on the dog. Okay, so we can go toe minus sign and draw some lines here to tell them and she that these areas are not to be removed. Okay? And you see them Bet right away. Just don't worry about how bad these lines air looking, but this is just to make a good selection. Don't worry about these lines in this area also. So now we seem to have a pretty good selection with no portions off the dog being affected with that. Now, it seems to be pretty good now. Also, we need to work a little bit on the edges because otherwise are green. Screening would look pretty horrible. You know, here we have a couple options to further fix these edges. And one off these tools is card D spill. And this is an excellent to you can see its impact right away. Now we can further zoom in using command plus or control plus on windows to look at the edges and see what else needs to be fixed. And here you see that we really need to do some work on the edges. If I zoom out a little bit ban and maybe move around the footage a little bit to see what's going on here and to fix these edges. We have some variables here under Mart finishing, and we can play around with them to really make these edges look nice. So the first off these variables is de noise. And if I zoom in, you can see that on these edges. That is a lot of noise. So to get it off this noise, we can use this variable de noise. So if I increase it, you can see its effect on the ideas right away. We don't want to increase it too much. Otherwise, it looks very blurry on the edges. So just a little bit. Were you get rid off the noise. And here these are the variables that you have to play around with a little bit to get the best reserves for the edges and also not already is our same. So if one variable is working for one video, it might not work for another video. So you have to do some hit and trial to see what works and what what doesn't. Then we have Ah, let me also zoom out and then we have these variables clean, black and clean white, so we can play around with that. And even if you don't know what the Israelis are actually doing, feel free to, ah, play around with them if they make any posit differences to the edges. And if not, you can always go and research them. Okay, Clean white. Okay, so this seems to be making it better. Not too much. Otherwise it will start creating Ah hallow kind of thing on the edges. So this is too much. Maybe we need to decrease it, Maybe it on somewhere here. Then we have blurry, hideous, and we can increase it to have some blurring effect on the edges, but don't increase it too much. Otherwise it will start cutting off on the edges. So this is looking good. Then the last one is in and out ratio. So this will basically pull the edges inwards or pushed them outwards to make it look better. So just play around with these values until you have some really nice and clean edges. Let me zoom out to see what we have here so we can fit it and also to get it off these lines. I can turn these tools off. So if I press command f to make it full screen, this is what we have achieved so far. This is looking pretty neat and clean and natural at the same time. And I can further tweaked these values make Ah, it's zoom in. So let's increase the d noise value clean white. I can further increase it blurring. This is quite a bit off blurring going on, so let's decrease it a little bit. This looks about right, and in adultery show for their Aiken. Change it. I think this looks good. Press Kamara f to make it full screen. This is what we have. And if I played ready, needing clean adages and looking very natural. So that's the basics off doing green screening with the when she resorts. I hope you enjoyed this lesson and found it useful. So thanks for watching and I'll catch you later. Bye. 18. Primary and Log Wheels: hi and welcome. In this lesson, we will learn the working off color wheels and all the tools in this region. So here in the color wheels, we have, ah, lift gamma and gain. Think off them as shadows, me tones and highlights in the color world. This is the terminology that for use so in all off these color wheels, the default position off this little circle is going to be in the exact center off the wheel and weaken. Drag it towards either off these colors, the first real is for left, and it is basically related to the darker parts or shadows in the image. So you see the default position off This little circle is in the center, so right now this really is neutral, and if I click here and drag it towards the red color, it basically pushes the red color in the shadows. Although the remaining portions off the image are in the were form, there also affected, but mostly it affects the shadows. And if I want to reset it to its original value, there's a little arrow on top off each off these well, so I can press it, and that way I can reset it to its original value. The next wheel is for gamma, and with that we can basically introduce specific colors into the mid tones. Then we have begin. Well, which is related to the highlights are the brighter parts off the image. So if I pull it towards the red, I'm pulling towards the blue color, You will see that the blue color is pushed into the highlights and here you can also see that the brighter parts become bluish, especially this sky. Without this, this was pretty flat. But by increasing deep blue color, it basically pushes more blue into the highlights, especially the sky and the other parts off the image are not affected that much. I reset that. So, uh, thes three veals thes basically affect different portions off. The image left is related to shadows. Cameras related to the murder don't gain is related to the highlights. But then we have the fourth wheel, which is for the offset. So this will affect the whole image equally. And if I make it red, you will see that all parts become reddish unlike. If I for the left wheel towards red, it will have a different effect compared to if I did start in the offset. Really? So these wheels give you a lot off options to control the look off your clips. If you change, devalue off one off these wheels and you want to research that you can just click the reset button on top off that particular well. But if you made a lot of changes and you just want to research all of them in one click, then on the top there is this global reset button. And, for example, let me do a couple of changes here, and you can see that I can reset all of the's changes by pressing this global research. Barton. So to summarize, all off that these color wheels affect the U and situation off the shadows for this we'll meet owns for this wheel and high lives for this well, and then the overall image for this last offset really, the direction off dragging off this little circle is used to pick a particular you. For example, I can drag it towards the red and red color is selected after that color is picked, the more we pull it away from the center. The higher the situation level for that particular area off the image, then under each off these wheels, you will see a slight Orville, so these wheels affect the brightness or luminosity for the respected part off the image. So this change is luminosity for shadows. This does that for the midterms. Discuss that for the highlights, and this slider does that for the overall image. So turning this wheel around, it's like increasing devalues off red, green and blue channels equally unlike moving around this point, which changes them unequally. So by clicking on this wheel and dragging it towards the right increases deep brightness for the shadows and moving it towards the left decreases the brightness. The values off red, green and blue generals are shown under each off the wheels so I can move the lifts lighter to the left side to make the shadows darker. And that way I can increase the contrast. So if you play around with them for a little bit, you can get the hang off them. Another cool thing is that above the Gainesville there is across here with a wide point next to that. And if you click that you can pick your white point in the image so you can click on a color that you want to appear white. For example, let's say I want to click on this cap, which, although isn't really white, but just for the sake off this example. Let me click here, and it will adjust the brightness you and situation off that color to white, and it will adjust everything else in the image accordingly. Now this is a little bit too much, so I will just, ah, reset that and let's go to another clip. And here we have this white color. So let's do that again. I'll click here and now bring my cursor over these white circles. Click here in digital Just the use saturation and brightness toe. Have this color look pure white, similarly above the left wheel. You will see another cross here with the black dot next to that, if you look very carefully so I can click it and now I have to click somewhere in the image where I want the color to appear black. I can click here and you will see that not this is pure black and everything has been adjusted in terms off you situation and brightness so that it looks pure white. But do keep in mind that such automatic adjustments are not always create, as you can see here. But the good thing is, you can use them as a starting point to make further adjustments in order to give a particular look to your clip. So I will reset that. And now let's look at the different types off color reasons we have. So basically, there are three sets off color Veals and DaVinci resolve. This is the first set, and this is called prime reveals. Okay. And if you look closely, there are three doors here, so the 1st 1 is highlighted and that shows prime reveals If I click on the next start, it has primary bars and ah, then the last one is locks. OK, so these are the three different sorts off wheels, and I can also access them using this drop down menu. So these air primary wheels is their primary bars, and then we have locks. So the 1st 2 types, but off them have the world primary in them so collectively begin called in primaries and the working off prime revealed in primary bars is exactly the same, except for their different user interface. So this is how primary weeds look like, and this is how primary bars look like off course. These are not wheels. This is just a difference in their interface. They're working is exactly the same as we will see shortly. So the benefit off primary bars is that for each off the portions, whether it's left gamma, gin or officer here, we can play around with the red, green and blue channels in each off the portions individually, unlike in prime reveals where we have lesser control or changing individual colors, laws are total different in terms off their working compared to board off the primaries. So now let's look at each of these sets off wheels one by one. So the first set off wheels is called primary wheels, and these affect a bigger portion off the way foam and are not very specific about which portions received the effects being applied. For example, if I apply a color effect on the highlights, it will of course affect the highlights. But some off that effect will also go to the mid tones as well as to the shadows area. So to illustrate that, let me look at the other clip. It is kind of dark and here I think it would be easier to explain the working off these primary wheels if I increase its offset. So here you can see that this where form has ah gathered the top through of the were form and we can fill this gap by adjusting begin bacon. Ah, use this lighter wheel in Dechaine. So by clicking it with my mouse and dragging it to the right, you can see that the way form is spreading because I'm increasing its cane. Although this should affect the highlight in a stronger way. But it is also having some effect in the mid tones as well as in the shadows area. If I do it again, you see that it is a very strong effect in the highlight where it's a fact should go. But it also has some effect in the mid tones as well as in the shadows. Then if I make some adjustments to the gamma well, this should have a direct impact on the Middletons. But as you see, it also affects the highlights as well as the shadows. So the effect off each of these wheels is not only restricted to their intended target regions, but it also spreads to the surrounding regions. So the gamma not only affect the mittens, but it also has some effect going towards the highlights as well as to the shadows. Similarly, if I decrease the left, you see that it has a stronger impact on the shadows. But it also has some effect going toe the mid knowns as well as even to the highlights. So you can see that all these reels these not only affect their intended reasons but also have their effect extending to the syringe surrounding regions as well. Then, lastly, we have the officer real, and by changing that it doesn't affect a certain region. It effects all off the region's equally unlike all these other weeds. So by increasing it, I can shift my whole way, form upwards, and by decreasing it, I can shifted downwards. So these are the primary wheels, and these work in bigger strokes and affect a larger portion off the way from as we just saw. The next set is the primary bars, the primary bars are identical to color wheels just represented a bit differently, and sometimes it becomes easier, depending on what it is that you're trying to do. So in order to illustrate the working off these primary bars, let's assume for a moment that we had a short that we were working on, and it has a lot off green in that. So let me in the primary wheels. Let me pull gamma towards very dark green color and do keep in mind disposition off this camera. No, uh, we can pull up the screen color in the primary, parse. So in the gamma section, I can pull down the green. And now if I go to the primary wheels, you can see that. Remember the original position off this camera will waas here, but it has basically pulled away from the green color, and it is shifted mawr towards the magenta. So now if I goto the primary bars and research the gamma, you will see that it also research in the primary reels. So this clarifies that the prime reveals in primary bars. Both off them work together, and whatever we do in one reflects in the other Let's do one more example to further clarify this point. So right now you see that in the gamma section all these red, green and blue channels these have their values close to zero. Now, if I go to the primary wheels and if I increase the value off Gamma, he will see that the values in the red, green and blue channels all off them increase equally. But if I reset it and now, if I tilt it more towards the red color, same thing happens in departs, read General increases in value and the other channels adjust accordingly. I hope that's clear so I can reset that. And the last set is the log reels, and these were their more specific. For example, if you change me tones, it will affect Justin Mittens, and it will have very little to no effect on the surrounding regions. And you can use these to, well, lose L. R. A large for Lawrence and H. R H R is for hiring, so you can use these law range and high range values to define if the effect extends into the neighbouring regions or not. So to illustrate this point, let me just go to primary wheels for a little bit and let me extend this way form so that I can explain my point more clearly. So let's say this is the way form you're working with. So now if I changed the values off shadows, you see that it is only affecting the bottom off the way from our shadows. As a change this value, you will see that the shadows are decreasing and eventually this start clipping. Right now, you see the value off this low range is 0.333 Now I can further control that. How much the turning off this will affect thes shadows. I can further control that by changing this value off all orange. So if I decrease it, let's it toe 0.15 And now during this well, now it will affect even a smaller portion off the shadows. You can see that only a very small portion off the shadows is shifting as I turn this wheel . See? Similarly, if I I want to have a much bigger impact on the shadows by turning this well, I can make this increase it to a higher value. And now just a little bit off. Turning off this well would have a bigger impact on the shadows. And still you see that this is very specific to shallows. It is not affecting mid tones or highlights at all. All it is affecting is the shadows. And I can further control how much off the shadows are being affected. And if I further reduce it to zero, turning this wheel does not have any effect on the shadows. So this definitely gives us more control toe effect, Poor Diggler portions off the way, forming a more precise way. Similarly, I can make changes to only the highlight by turning this week. And now you see that as I turned this will, only the highlights are being affected and the mid tones and shadows they don't have any effect at all. And even for the highlights, I can be very specific about how much off the highlights are affected. So right now, the higher range is 0.55 So it is affecting a bigger portion off the highlights. I can make it even bigger by decreasing this higher range, and now it starts even affecting the mid owns as well. But I can make this higher range closer to one, and it will start having lesser and lesser effect on the highlights. You see, the effect has decreased. If I increase it more not. The effect would be even smaller for their increase it. And now the effect would be negligible. It is now barely affecting the highlight. And when it is exactly one, it stops affecting even the highlights. So by changing this high range value, I can adjust even the tiniest parts off the way from So with log wheels, you can be very specific about fine tuning things and rear the adjustments take place. So that's how these color wheels work. Now I'll go ahead and research all off them. Then, under these color wheels, we have a few more controls. So you see this number one and two. So if you press one, this is the man you and it has a few different controls. And if you press to this brings up a few more controls. How do you change these values? You just click on one off these values, click here, then hold it. And now, if you drag your most towards the right, the value increases if you drag it towards the left, devalue decreases. Okay? And if you just want to reset it, you just double click on dick text level and that research it to the original or default value. So now let's look at each of these controls. The 1st 1 is contrast. This basically pulls everything apart and make sure image more contrasting. So this is the original way form, and you can see that it is not taking the entire vertical space. So as I hold it and drag it to the right, the contrast increases. It basically bulls this way from apart. So the highlights are pulled upwards and shatters airport downwards so that it takes more vertical space. You can also look at the image, and now it has become much more contrast year, although that's kind of an overkill for just giving you the idea. Now, if I want to reset that, just double click it. The next one is spirit, and with this perimeter at the default value, stretching will occur evenly on both sides. Right now, here it is at the default value. So if I increase or decrease the contrast, you will see that this will basically stretch evenly around the center. You see, it is stretching around the center. If I increase the period value, let's say I make it 0.5. Let me make it 0.6. So there is more off center. So now where is this? Ah, period, Point occuring 0.0.597 or 0.6 approximately. This is lying around somewhere here. Okay, Along this way form. So with this spirit value, if I increase the contrast, the way form will stretch around this value. So if I now increase d contrast, you see that it basically stretching around this value. So although there's not much portion off the way form of all about this so stretching, it basically is pulling almost all the way from downwards. Let me just reset it and let me know for for a moment. Let me make this spirit point 0.3 and see what difference it makes or let me make it a point to so point to is somewhere here. If I now increased the contrast now this area off the way form will be kind of stationary and above that and below that it would be uneven stretching. So this is stretching, This is squeezing. And if you look closely all off that stretching are squeezing and happening around the spirit point. So again, with the spirit point at the default value, the stretching would be even on both sides. But when you change it away from its default value now, the street would be uneven. In the new period, point will be the middle point around which stretching would occur. Let me research both off these. The next perimeter is saturation, and it is kind of self explanatory if I increase it that entries is the situation in the image. If I decrease it, that d seculars it so you can see in the were form that when I d saturated all the red, green and blue colors perfectly overlap and this results in a black and white image. But as they increase it, you will see that the red, green and blue colors start shifting away from each other. And that is where you start seeing the different colors. The higher the value off situation, the more you see the color shifting from each other and the more saturated the image looks . The next perimeter is you so by increasing or decreasing it weaken give specific use to our image. The last option is Blue Momix, but don't really worry about that because it's a bit more advanced for this course. So that was menu one. And then there is menu to with a few more options, so the first option is temperature, and if I increase it to a positive value, I can make my image look warmer. And if I decrease it to a negative value, it appears cooler. So with that, I can adjust the temperature off my image. Then the next tool is dent, and with this you can shift colors up or down toe. Give specific things to your image from green all the way to magenta. The next one is MD. Were M D stands for meat on detail, So this is going to add contrast to your mid tones, and you can have them look sharper or blurrier. Then the next one is CB, their CV Stearns for color boost, and it saturates everything by giving it a color boost. The next tool is called shadows, and this is off course toward just shadows. So if your videos to bright you can adjust it to pull down the shadows. And the last tool is called H l were actually is for highlights. So just like shadows, we can also play around with this to adjust our highlights. And with these tools, we can have our image look more balanced so that it's not really clear p on the upper or lower side, so I can go ahead and research all off them. And one more important thing is that some of these options will change depending on whether you are looking at the primaries are logs. So, for example, here in the logs, you have this option for law range and hiring. Okay, so this option for low range in high range only appears under log reels. If I goto prime reveals our primary bars, you won't see this lower injure high range option under either menu one or two. So just keep this in mind that some off these options might be different, depending on which kind of wheels you're looking at. So these are mainly the tools we have for color adjustment, and I hope now you have a good understanding off how each of them works out further encourage you to play around with them to become more familiar and comfortable with them. Thanks for watching. The next tool we have is the next tool we have is called curves. And this is also very interesting and very powerful feature. So here you have your standard curve, just like an adobe premiere pro after effects or for the shop. So if you have done working any off those Softwares, you should be very familiar with this car off. So in this lesson will be applying some visual effects to this video. And for that, let me create a new Lord by pressing option S. And there's a serial lord option. As for Mac operating system are art s for windows and now any visual effects I apply, those would be applied to this note because this is selected, and in this way we can turn it on and often see how much difference the effect is making to the clip. So as for a skirt, they're concerned. Here you have six starts, and each of these darts represents a different type off kerf. So all of these girls do kind of the same thing. But in their own different ways, so there is a plethora of things you can do with these curves. You can adjust individual colors. You can map one color to another, make colors brighter or more saturated in very selective ways, etcetera. So let's play around with them and also let me bring up this rare form so that you can see any changes happening toe the careful. So this slanted line is basically the standard girl, and we can also call the custom cough. So it's higher point shows. The highlights and lower point corresponds to the shadows, and we can. Many played the clip using this girl so I can grab this highlighter highlight point and move it down, and it basically reduces the brightness. As you can see the Clippers becoming, ah less bright and similarly you can see the highlights moving down. So this basically compresses the reform. Similarly, I can grab this point and move it up. So this dick eso this basically increases the brightness off shadows and you can see that the shadows have moved up in the were formas well and the shadows are more bright now and ah, the curve is more squeezed and similarly with the reform, so moving these points up or down basically is having the same effect as genuine. Begin in the color reads. So all the color information in this clip is carried by this line, and we can are just individual colors in addition to playing around with a cane. So, for example, this lower part represents shadows. So right now you can see there are only two points on this line. But by clicking anywhere on this line, I can create an additional point and let's say Creek here and one additional point is created, and now I can drag it down. And this basically pulls more information to worst shadows, and you can see that the shadows have become darker in the image. Similarly, as I move it down, you can see that more information is being pulled. The world's shadows anywhere from we can give it more contrast by clicking here somewhere in the upper portion off the line and pulling more information towards highlights. And you can see the changes happening in the clip as well as in the were form that the highlights become brighter and they become higher in this way from so this basically changes that straight line into a classic S curve, which represents more contrast in the actual clip. So you will see a lot of people whenever they want to add more contrast to the image. They will just make this skirt a classic s curve and this basically spreads things apart. It basically are, takes the highlight and shadows and increases their caps or highlights are brighter. Shadows are darker and this results in a more contrast year with you. Now, if I want to get rid off any off these points, I can just rightly condemn and those points are gone. And here you can also notice that I played around with this curve and you can see this red dot appears above the curved tool, which means that out off all these effects, the Kurds have been registered so far. So if I apply any other effect, a little red dot would also appear on those to give a visual signals that which effects have been applied to this particular clip. Also, if I just want to ah, reset any of these girls, there's a circular arrow I can click and that research that curve and you can see that the red dot has bean removed just as an indication that no changes have been made to the curb part it has been recent, but so far, whatever changes we have made to discover those have been applied to the white car which is basically a combination off red, green and blue. But the other thing we can do is we can play around with these individual red, green and blue channels. So here you see, red, green and blue, all of them are enabled. Why? Because this link button is enabled. So whatever changes I make to this curve, those are applied toe all off these channels equally. But by pressing this pardon and disabling it now I can make changes to the individual red, green and blue channels. So, for example, I can select this red general and what I can do is I Congrats this red point in the highlights and move it down and you see the red color is our de saturated or its brightness has been decreased. So, for example, I can pick this red point in the highlight and move it down, and it basically reduces red in this clip. And as you can see in the reform as I move it up or down, the Redway form decreases with this point moving down. And as a result, you can see that when read decreases the blue increases because thes happened on the opposite side off the color wheel. So decreasing the red reserves in more blue in highlights and you can see it turns more bluish. So right now I'm just selecting Begin off the Red Channel. But I can just move it back. And I can also make an s curve out off this red General. And this basically adds a contrast in different girl without affecting anything in the creen and brooch. And also in this way we can play around with different colors in visually. But this is only when you want to just the individual channels. But I don't want to do that right now, So I will just right click on these points and get it off them origin. I could just research them and link them back again. So that was the first curve, which is the custom car. And let's move on to the next one, which is you. Worse is you. This is how it looks like. And as the name suggests, with this curve, you can pickle you and replace it with another you. So for this example, let's change the you off this blue dress and replace it with a different you. So if I click it, you can see that by automatically These three points come up, which basically represents the range off these blue colors so I can grab this point, move it up or down to change the you off that blue color. So in this way we can pick a color and replace it with a totally different color. And the great thing is, I can decrease or increase the color range by moving these points around and in dark. Fae Aiken, be more specific, are less specific about a particular color. So if I make this wider, it will start affecting the neighboring colors. But if I make it narrower, I can be very, very specific. But the drawback is that if I make it very, very narrow now, some portions are affected more than the other. Like you see here this part off the dress stairs green, and here it turns yellowish brown or something so I can move it back. And now I can affect all off this dress equally so to look at the effect this ah girl is making to the clip. I can just toggle this Ah, north honor off by clicking on this number again and again. So this is the original clip, and this is with the fact with without and you can see the difference. So let me reset that. And with this tool, you can do a lot of interesting things. So that was your says you. The next one is yours a saturation. And as the name suggests, with this dude, you can pick certain colors within the image and situate them more or less. So again, let's pick this blue color in her top for this example as well. And ah, color ranges selected, and I can move it up to make it more situated or move it down to make it less saturated. And you can see that the dress which was originally blue Now it has been decided related, and it looks like and I can further move this play hard and you can see that even with the corrector moving, the color changes stay intact, which is awesome. So this is with this effect applied and this is without it so you can see the difference. And here is another perfect example. I could pick this sky and you can see that the color rain selected is pretty close to the color range for this originally blue dress. Because both off these are blue. So this is lesser, less saturated blue. But that was more saturated, So they happened to be quite close to each other. And now I can make the sky Let's situated less like her dress or make it more saturate er to make it a bit contrast year. So here, this is without this north and here this is with dinner. So the dress is becoming less saturated and the skies becoming more saturated. And of course, I could make them both de saturated. So this is the dour and this is with this effect, and we could also choose to make them bought saturated And here this is without this effect applied. And this is with the effect applied so you can see the increased saturation in this blue in her top and in the sky. So in this way we can make things pop out a little bit more. And by the way, we can talk about this Nord on or off, just by clicking on this number again and again, or by pressing command D on a Mac or control the on windows. Then we go ahead and research that and the next one in the list is you. Worse is luminous. So this girl changes luminant or brightness off a specific color. So, for example, let me pick this red color in her top. So for that, let me we'll be back. So when I click this red with my eye dropper, it automatically selects arrange for me. So by grabbing this point and moving it up, the red color becomes brighter and by moving it down it becomes darker. And even if I move the players, you can see that the effects is intact. This is with the effect applied and this is without it and you can see the difference. And the great thing is that you can see it is only affecting that red color. Not a single thing in this way form or in this clip is being affected. And that is the great thing about DaVinci result. It really is a very powerful software. When it comes to curry, the next one in the list is luminous. Worse is saturation, so I can saturate or d secular things in the image, depending on their luminant, our brightness. So, for example, let me again pick this red color in her top. And now I can selectively saturated or saturated or under saturated by moving it up for under for oversaturation and moving it down for under saturation. And you can see that it is not accurately picking all the red colors. Maybe because the range is too narrow. So if I wide in this range, so by playing around with this strange, you can make sure that all the intended colors are selected. So this is with the effect applied. This is without, and you can see how much this red is popping up now. Similarly, I can click on the sky, the color ranges selected, and I can work it oversaturated are under saturated. So this is with bought this red color in her dress and the sky or saturated, and this is with the effect applied. This is without the effect. Similarly, I can make one or saturated and one under sexual Richard are bought under such Richard. So you can see this is rid Arthuis effect. And this is with the effect right now. This is the original way from, and when I enable this affect, you can see how it squeezes together. And let me also research that toe move on to the last one, which is situation worse exaggeration. So discard allows us to saturate or de saturate certain ruminants values in the image. So, for example, if I click somewhere in the sky, grab this point and move it down. Everything turns black and white or de saturated in the clip. And in the reform, you can see that here there are a little bit of colors, but here, there no colors, and actually it's almost black and white, except for certain red and yellow colors, which you can see a little bit off. But everything else turns black and white or d sexual. But let's say we don't want to affect the whole clip. We want to read in the colors in her dress. So for that, let me research that. And now when I click this sky, the whole color ranges selected. But we want just a narrow range off the colors. We don't want these colors to be affected, so I can just, ah, click somewhere to add an additional points. And now this is deranged. That will be changing. So now if I crab this point and move it up or down, everything else turns black and white except for distressed and even in the way from you can see that all other areas turn out to be almost black and white, except for this location where she is in here. You can see all these colors, these air still saturated, but everything else is de saturated. Who I Because we selected the appropriate range where we are decreasing saturation. But she is probably lying in this region where the situation is not being affected. So this is without the effect, and you can see all the colors in the way form throughout. And when I enabled this curve, you can see all these colors in this region and this region are taken away. But everything else in this region stays intact. So again, I researched that So with these curves we can create many amazing visual effects and play around with colors in very interesting ways. I hope you're enjoying the section tanks, and I hope to see you in the next lesson. 19. How to Use Windows: after qualifiers. Another cool option to select a particular part off. The video clip for correction is using power windows. These are like masks and help to select part off the video clip, based on its location in the frame, not based on the color, unlike in qualifiers. So here I have added an additional cereal Nordby pressing option as on Mac operating system are all as on windows. And now, using this note, I will be explaining the concept off windows in this lesson. So when you press this button, you have many different options for different shapes. Off windows. You have scare circle line arc, etcetera. So in order to explain the concept off windows, let me just go to the color wheel for a moment and let's apply some color to this whole clip. So I applied this bright red to the highlights, toe the mid tones as well as to the shadows, and I'm using this bright color so that I can clearly show you what happens when you use windows. So now you can see that when I change these values, everything turns red. But let's see what happens when I apply one off these windows. So let's ah, click on this scare window and you see that immediately. The effect is restricted toe inside this window and I can grab it and move it anywhere else , and only the area within that region will receive that effect. Similarly, Aiken go again toe the visa color. Veals and I can increase the gamma, and you can see the brightness increasing only within that particular region. Nothing else is changing. Similarly, I can goto the blur tool and increase the radius, and that makes it blurry. And you can see that any kind off for adjustments I am making. As long as this window is selected, the effects are color. Adjustments I apply will be only restricted towards inside. Off this window, I can rotate this window by grabbing this marker, and whenever returns toe occurred arrow, I can rotate it, and you can see that affect all soldiers with that. Similarly, I can grab on one off these edges and resize that, and in this way I can fitted to any direct, angular kind of ship in the video. I want similarly if need be. You can also distort this rectangular shape by grabbing on one off these corners and moving them around, and in this way you can make it an irregular ship. So that was the square shaped window, and I can reset that. And now we can also do the same. Let me undo the blur. And now I can go back to the window and let's apply the same effect to a circular kind off window. And you can see that immediately. The fact, nor reduces to a circular ship. And with many of thes shapes, you can see these ah, white darts around the edges with red borders so you can basically grab them and move them away. And in this way you can soften the edges, and that creates a nice fathering effect. And in front off all these windows, you will see this kind off button. So here, all of these are disabled because we're not using any of those windows. But here, this is a neighbor. So this scare shape with the circle field circle inside that So this is basically the flip bottom. So right now you see, the adjustments are taking place inside this window. But if I click that now, everything is flipped. So instead off effects being applied inside. Now they are applied toe all areas except the inside. So this is basically similar toe flipping the effect. So in this way you can flip the mosque. So that was scared in circular shape. Then we have this line, this ark, and let's play around with this ark. So with this ark, whichever points I keep clicking, I can add more and more corners. But nothing happens until you close this ship. So you see, this is the This is the last point. This is the first point. And when I joined them now this ship is closed and the effect is restricted towards inside off that and again we can flip it, we can move it back. He said that So in addition to this kind of cornered ship, I can ah keep dragging my cursor instead off clicking a different points. I can just keep dragging my cursor and ah, in this way whenever I close it. Now we have this kind of ship with no sharp corners because I didn't click it. I rather drag my most around. So in this way I can define a custom ship and the cool thing is, if there are any imperfections in your first try, for while creating this shape you can for any of thes ships, you can keep moving these points around, and you will see that, uh, color adjustments will also adjust accordingly in real time. So this is really cool function, and you can take as long as you want to perfect this shape, and you don't have to worry about the color adjustments. And in addition to all off that, you can even create multiple shapes at the same time multiple windows. So let's create a scare window. Let's create a circular window as well. And now we have two shapes with color adjustments being applied. Tow boat If I turn on my highlighter. These are the shapes where I am applying the color adjustments and you can see some nice fathering. So now we have two mosques together, and, ah, if I bring them so that they overlap with each other now, nothing is happening. But I can play around with these buttons, and I can adjust them in such a way that only the overlapping region gets this effect. So right now it's not very prominent but let me moved sideways. And now you see, there is no area that is getting that effect. But as soon as they start overlapping here, you see that effect. So this is really cool. And ah, in fact, there are a lot off ways to manipulate the power windows and decide where the adjustments will be applied For Now, let me just go back and research these this weird orange color and we're back to the original colors. And now let me actually use this scare window or rectangular window will make it a little brighter just for the sake off this example. So I can ah d shape it are, Ah, whichever way I want. I can edit this shape until it completely over overlaps this board. And now I can go to the color wheels and this was quite dark. So basically, this was a part off the shadows and I can increase the lift, But let me just see what is being selected. Nothing is being selected. Why? Because both off these are on. So if I turned them off now you see the window is selecting the board as we intended, and now whatever adjustments I make only this area will get. Those are just so I can maybe increased the left and you will see that this board will start getting brighter. This area is representing that board. So you see, when I move this, just keep an eye on this. As I move this well, you can see how it moves up and down. And this is basically originally the part of shadows. But I am moving it up by taking the brightness. So now just look at this board and this war. You can clearly see that this is with daughter. This is with this and clearly by helped by you making use off these windows, we can apply localized color adjustments. So that is how we can use thes windows and let me go ahead and research discover adjustment as well as this window. And now there is a last option for Windows and Dart. Is this creedy int? So this is also very interesting and very useful tool. So the way it works is whichever color adjustment we apply. Using this window, that color adjustment starts along this line and then in the direction off this arrow, it starts decreasing Okay, so whatever a fact I apply, it will be at full strength along this line. And then in this direction, that effect will start decreasing and dig. Radiant can be set using the length off this arrow. So if this arrow is very long now, there would be a very gradual decrease in the effect, so it won't be very noticeable. But if I decrease the length off this arrow, there will be certain decrease. So here there would be full effect. And over this very short distance, the effect would become zero. So in this way you can have an affect decreasing in strength over a particular distance. So, for example, this could be really useful in situations where you have one side off the picture brighter and the other one darker. Like in this case, you can see this way form. Here it is starting the top. But here it is. The maximum point is right around the middle. So there's lot off gap here. Even visually, you can tell that there are a lot off highlights in this area. But on this side there are no highlights. So by using this ah power window, we can make it more even. And how can we do that? We can basically bring this arrow here and let's make some color adjustments. So these are basically shadows that we want to lift. So what I can do is I can increase the lift. But where I am I applying this. I am. You see, as I move this power window, you see what happens to localized sections off this way. Form C. So, in this way, by increasing the length off this arrow, I can further make it customized. This is where the shadows are being pushed up. And then there a fact becomes negligible in this direction. So I think we need to flip it around, move it back. So here these were the very dark areas. So I apply some brightness here. I actually take those shadows and pushed them up. And then since as they move along this side, the brightness is higher and higher, so I can gradually decrease that effect. And Aiken basically compensate those shadows with increased brightness for shadows using this window. So as I move it, you can see the effect. See? And by changing the length off this, you can see that the ingredient is more now and not the greedy in this less so. I think this looks a little bit unnatural to let me decrease it a little bit so that the lighting is even on this hide as well as on this side are actually I can further increase that a little bit because, you see, here the shadows are still sitting around half the height off this way from, so let me for their increase it there is a lot of improvement. And you can see that by talking this Lord by clicking on this number. So this is without the effect, and this is with the effect and clearly conceal off improvement. Probably this one would be better. So this is without and this is with that, so another very nice tool. And by adjusting the length off this arrow, we cannot just, ah, strength off the Grady in our the amount off fathering from this side all the way to the site. So I hope that now you know how to use all these different kinds off windows to your advantage. So let me reset that and let me also go back and research these color wheels, so we're back to the original color configuration. So as you saw Windows, give us Lords off cool options to make selections and then apply color adjustments on them in very localized way, I hope you found that useful, and I'll see you in the next lesson.